Datasets:

kathi08654

/

goodwiki_3000

like 0

Climate of the Tampa Bay area

The Tampa Bay area has a humid subtropical climate (Köppen Cfa), closely bordering a tropical climate near the waterfront areas. There are two basic seasons in the Tampa Bay area, a hot and wet season from May through October, and a mild and dry season from November through April. Nearly two-thirds of the annual precipitation falls in the months of June through September. The area is listed by the United States Department of Agriculture (USDA) as being in hardiness zone 9b as well as hardiness zone 10a just along the immediate coast and in peninsular Pinellas; which is about the northern limit of where coconut palms and royal palms can be grown. Highs usually range between 65 and 95 °F (18–35 °C) year round. Tampa's official high has never reached 100 °F (38 °C) – the city's all-time record temperature is 99 °F (37 °C). St. Petersburg's all-time record high is exactly 100 °F (38 °C). Pinellas County lies on a peninsula between Tampa Bay and the Gulf of Mexico, and much of the city of Tampa lies on a smaller peninsula jutting out into Tampa Bay. This proximity to large bodies of water both moderates temperatures and introduces large amounts of humidity into the atmosphere. In general, the local communities farthest from the coast have larger temperature ranges, both during a single day and throughout the seasons of the year. ## Seasonal weather ### Wet season The warm and rainy season typically begins in late May and runs through October. Average high temperatures are in the low 90s °F (around 32 °C) with lows in the mid-70s °F (around 24 °C) during this period, and the combination of warm temperatures and high humidity brings an almost daily chance of rain and thunderstorms, especially in the afternoon. Day-to-day weather is remarkably consistent, with summertime average highs and lows within five to ten degrees of the record high and low for any given date. In the typical summertime weather pattern, the combination of daytime heating and the interaction of the Gulf and Atlantic sea breezes creates thermal-fueled cumulus clouds over the Florida peninsula. These can produce rain showers or grow into towering thunderheads, either of which tend to drift westward on upper level winds produced by the Bermuda high, a semi-permanent weather feature over the Atlantic Ocean that strengthens during the summer months. These storms can form anywhere across Central Florida from the interior near Orlando to along the west coast, depending on the wind and local weather conditions. Wherever they develop, Tampa's most common summer weather pattern results in afternoon thundershowers that usually rain themselves out by sunset, though on occasion, a storm cell will persist and drift west to the Gulf of Mexico to produce nighttime lightning displays visible from local beaches. A less common summer weather pattern is for prevailing westerly winds to cause overnight thundershowers to form offshore along a land breeze front. These storms bring morning rain to the Tampa area before moving inland later in the day, reversing the more typical timing. While afternoon storms are usually followed by a clear and cooler evening, morning rain often results in higher than usual humidity levels and the possibility of more storms developing in the afternoon. Summer storms typically bring brief periods of heavy rain and gusty winds with frequent cloud-to-ground lightning. They can grow severe, bringing strong straight-line winds, small hail, and torrential rain, and an occasional tornado. (While Florida sees the highest number of tornadoes per square mile of any state, the majority are small, weak, and short-lived compared to those seen in mid-western states.) Waterspouts sometimes form when outflows from adjacent storm cells interact and begin to rotate over water, creating a funnel cloud over Tampa Bay or off the gulf beaches. These features usually stay offshore but occasionally reach land as a short-lived weak tornado. The Tampa Bay area is sometimes referred to as the "Lightning Capital of the World" for its frequent thunderstorms. Though Central Florida receives as much lightning during the summer months as the world's true lightning leaders such as the Lake Victoria region of Africa and the central Amazon River Basin, thunderstorms are much less common from about October to May, so the area from Tampa to Orlando is more accurately deemed the "Lightning Capital of North America". An average of about a dozen people are killed by lightning in Florida every year, with several annually in the Tampa area., and TECO Energy, Tampa's primary electric utility, spends several millions dollars annually to repair transformers and other equipment damaged by lightning strikes. University of Florida lightning expert Martin A. Uman has calculated that the average resident is within a half-mile of 10 to 15 lightning strikes every year. ### Dry season The dry season often begins in early November and can last into early May. The local weather during these months is normally sunny, mild, and quite dry, with a general cooling trend through the fall and a slow increase in temperatures starting in February. Highs during the coolest part of the winter average around 70 °F (21 °C), usually with sunny skies. The occasional passage of a cold front will bring rain followed by a few days of cooler temperatures. Lows rarely reach freezing 32 °F (0 °C), an occurrence which happens, on average, once every other year in areas away from the water and less frequently in areas on Tampa Bay or the Gulf of Mexico. While deep freezes are very infrequent, serious cold snaps are a significant concern due to the diverse range of freeze-sensitive agriculture and aquaculture industries in the area as well as tropical landscaping such as coconut palms and royal palms. Frozen precipitation is very rare in the Tampa Bay area. The only known measurable snowfall in Tampa after 1900 occurred on January 19, 1977. While the accumulation amounted to less than 0.5 inches (13 mm), the city is so unaccustomed to snow that public schools closed for the day and many businesses and roadways closed until it melted away that afternoon. Many residents of southern Pinellas County reported a light snowfall on December 23, 1989. However, no snow fell at official weather stations, and the weather record indicates that light sleet fell on St. Petersburg that day. The winter of 2009–2010 was one of the coldest in local history. Both Tampa and St. Petersburg set records for consecutive days in which the high temperature did not reach 60 °F (16 °C), and Tampa experienced ten consecutive days with a low temperature below freezing. Much of the area received a "wintry mix" of rain and sleet on January 9–10. According to The Weather Channel, Tampa's all-time record low temperature is 18 °F (−8 °C) and St. Petersburg's is 20 °F (−7 °C), both occurring during the same cold snap on December 13, 1962. During El Niño, the Tampa Bay area receives cooler and wetter conditions during the dry season while during La Niña, the Tampa Bay area becomes drier and warmer than normal. ### Precipitation and sunshine trends Due to the frequent summer thunderstorms, Tampa has a pronounced wet season, receiving a yearly average of about 30 inches (760 mm) of rain from June to September but only about 19 inches (480 mm) during the remaining eight months of the year combined. The historical averages late in the wet season are augmented by the passage of tropical cyclones, which can drop several inches of rain in just a few hours. Outside of the summer rainy season, most of the area's precipitation is delivered by occasional weather fronts - cold fronts often bring brief but intense rain while warm fronts tend to bring light rain over longer periods of time. Precipitation and temperature averages for the city of Tampa itself tend to fall near the median for the area. Communities to the interior tend to receive a bit more rain and experience slightly wider temperature fluctuations, while those on the Gulf coast tend to receive a bit less rain and less pronounced temperature differences, both in a single day and through the year. The area receives plentiful sunshine throughout the year, averaging a total of 2920 hours, or 66.7% of the possible total. The daily sunshine amount is highest in May, when the sun's angle of incidence brings more hours of daylight but the rainy season has not yet begun. ## Tropical systems June through November is hurricane season in the Atlantic Basin and Caribbean Sea, with the most tropical activity occurring between mid-August to mid-October. Rain dropped by tropical systems is an important component of the area's annual precipitation and is vital for replenishing the water supply of communities around Tampa Bay. The area is threatened by tropical systems almost every year and feels some effect from passing storms several times per decade. However, due to Tampa Bay's location on the west coast and the typical steering winds for storms, landfall in the area is very uncommon, with estimates of the probability of a hurricane making landfall in the Tampa Bay area during any given year ranging from 1 in 25 to 1 in 50. The small village of Tampa was devastated by the Great Gale of 1848, and the area suffered major damage during the Tampa Bay Hurricane of 1921. Since then, however, Tampa Bay has not seen the landfall of any hurricane. Manatee County, which is technically not part of the Tampa Bay area, in 1946 was the site of a Category 1 hurricane that lost hurricane strength immediately after landfall. The 2004 Atlantic Hurricane Season was historically busy for the Tampa Bay area. The region was affected by a record four hurricanes that year; Frances, Jeanne, Charley, and to a lesser extent, Ivan. Jeanne and Frances passed over Tampa as tropical storms after making their way across the state from the east coast. Charley was forecast to make a direct hit on Tampa Bay from the south-southwest, which would have been the worst-case scenario for local storm surge flooding. But the storm made a sudden and unexpected turn to the northeast and brought only tropical storm force winds to the region, devastating the Ft. Myers/Port Charlotte area instead. Ivan also threatened the area as it moved north up the eastern Gulf of Mexico. It remained far to the west of central Florida, however, and brought only a bit of rain and wind to Tampa Bay before eventually slamming into coastal Alabama and the Florida Panhandle. On September 10, 2017, Hurricane Irma struck the Florida Keys and made landfall near Marco Island in southwest Florida as a Category 3 storm. Irma moved north up the length of the Florida peninsula and had weakened to a Category 1 storm by the time it neared central Florida. On the night of September 10 and 11, the eye passed east of Tampa through eastern Hillsborough County, bringing at least tropical storm winds to the entire Tampa Bay area. Irma caused significant damage to the region, particularly to the electrical grid. ## Tampa data ## See also - Climate of Florida

Bizounce

"Bizounce" is the debut single recorded by American singer Olivia, from her self-titled debut studio album (2001). Producers Doug Allen and Joshua Thompson wrote the song in collaboration with Olivia and songwriters David L. Conley, Quincy Q. Patrick, and Juan Magic" Peters. It was released on March 20, 2001 as the lead single from the album. It is an upbeat, R&B track with lyrics that revolve around dissatisfaction with a relationship and the desire to "bizounce" or leave the partner. In her autobiography, Release Me: My Life, My Words, Olivia revealed her disappointment that "Bizounce" was chosen and released as the lead single because of interference by label executives. "Bizounce" received primarily mixed reviews from music critics; some critics praised Olivia's vocals, image, and its choice as her debut single while others questioned Olivia's connection with the music. The single was a commercial success in the United States, peaking at number fifteen on the U.S. Billboard Hot 100 and number four on the U.S. Hot R&B/Hip-Hop Singles & Tracks charts. It also peaked at number sixteen on the Canadian Singles Chart. "Bizounce" is Olivia's most successful solo single, leaving her 2005 collaboration with rapper 50 Cent on "Candy Shop" as her most successful overall. To promote "Bizounce", she performed it on various television and live shows. She also included the song as a part of the promotional tour leading up the album's release. The song's accompanying music video was directed by Marcus Raboy. ## Background Olivia initially performed rap under the name "O-Lovely", before abandoning it to attend Hofstra University and Five Towns College as a different way to advance her career in music. Olivia recalled that people frequently compared her voice to Brandy. Olivia was signed to J Records at age 17, becoming the first artist to join the record label. For her audition, she performed the gospel hymn "His Eye Is on the Sparrow" for American record producer Clive Davis. During an interview with Billboard, Olivia revealed that she was immediately signed to the label following the meeting. She described herself as "the one chosen to flagship the label" since her single and album were one of the first projects released by the company. Executives from the record company referred to her as "the First Lady of J". Joshua Thompson, who previously arranged for Olivia's audition for Arista Records' executives and Davis, produced her demo. "Bizounce" was produced by Thompson and Doug Allen, who also contributed to the writing along with Olivia, David L. Conley, Quincy Q. Patrick, and Juan Magic" Peters. J Records senior vice president Ron Gillyard described Olivia as "the real deal", emphasizing her roles as "a songwriter, a singer, and a rapper". Olivia later described the recording and promotion of "Bizounce" and the album as a learning experience for her future ventures; she said her time at J Records was: "cut short by the politics of the industry and me not actually taking my career into my own hands". She said record executives took away her control over the creation of the album because of her youth and inexperience. ## Composition and lyrics According to digital information from Beatport, "Bizounce" is a R&B and funk song composed in the key of G minor. The song's instrumentation is composed of drums, keyboards, and a bass guitar. AllMusic's Jon Azpiri praised the contrast between the "brutally frank" lyrics about break-ups and infidelity, and the "seductive" instrumentals, making the single one of the most memorable of 2001. According to a review in Billboard, Olivia's vocal performance reflects her hip hop influences and gives the single a "street edge" while its "orchestral tinges" are best-suited for R&B radio. In an interview with Billboard, Olivia called the single an "empowering women's song" for inspiring women to leave unfulfilling relationships. She said she wrote it: "for all the people who don't know how to tell the other person to 'bounce' ". An article in Vibe magazine noted lyrics, like: "I can't take this shit no more / Picture frame broken daddy 'cause I can't trust you / I'm ridin' high now / So nigga fuck you", as creating an impression of Olivia as a "potty-mouth". NME's John Mulvey commented that Olivia's "ruthlessness rather than her vocabulary" was the standout, especially in the lyric: "Shoulda known what you missed at home / Now you're all alone with no-one to bone". Mulvey joked that the amount of censorship on the radio edit made Olivia sound "avant-garde". ## Release and promotion "Bizounce" was released through J Records as the lead single from Olivia's debut album Olivia on March 20, 2001. The release included explicit and "PG-13" versions of the single along with a twenty-nine second snippet of the second single "Are U Capable", and a minute and twenty-two second snippet of the album track "It's On Again". The instrumental and "X-rated" versions of the single were released on vinyl. Olivia made appearances on television and on live shows to promote "Bizounce". Before the album's release, she performed the single on Soul Train, BET, MTV's hip-hop video block Sucker Free (known at the time as DFX), and The Source Sound Lab. It was included on the set list for her promotional tour leading up to the album's release on May 15, 2001. Director Marcus Raboy shot the accompanying music video for the single. A review from Billboard praised the video as something that would: "catch the eyes and ears of music fans". Raboy would later work with Olivia on the music video for the follow-up single "Are U Capable". During the record's promotion, Olivia described having a good working relationship with Davis, but she called him "extremely controlling" after leaving the label. Olivia claimed that she was forced to be the bad girl while label mate Alicia Keys was promoted as the good girl. In an official statement, J Records' representatives pointed to Olivia's credits as a co-writer for a majority of the album as proof of her involvement with the project and maintained: "Clive doesn't categorize artists as good or bad girls". In her 2014 autobiography, Release Me: My Life, My Words, Olivia wrote that she disagreed with the record label's decision to release "Bizounce" as her debut single. Despite saying the single was a perfect fit for the clubs, and one of her favorite tracks from the album, she believed it did not reflect her as an artist. She originally pushed for "It's On Again" to be the single. ## Critical response "Bizounce" received mixed reviews from music critics. Mark Bautz of Entertainment Weekly described "Bizounce" as "a saucy hit single" and noted it as one of the album's highlights. A review in Billboard praised Olivia's vocals, saying she "has the mouth of a bad girl and the voice of an angel", and described the single as making her: "a bona fide R&B singer". SongQuarters' Paulina Bozek wrote that "Bizounce" established Olivia as a "powerful R&B/rap debutante". Shaheem Reid of MTV named the single an "anthem for women who are fed up wit their mates" while an article in Vibe magazine opined that it was a "hit heavy on attitude". Mulvey of NME commended the single as giving a "steely boot to a crap lover" in the style of TLC, Kelis, and Eve as well as being a "vicious kiss-off" and a "boudoir come-on". The Morning Call's Len Righi criticized "Bizounce" for being indicative of a negative trend in R&B music, where "the plaintive human voice in the throes of transcendent ecstasy or bottomless hurt is not nearly as important as the right attitude, hip-hop production and clothing". Righi negatively compared the single to music by R&B singer Aaliyah, saying they both emphasized style over substance. ## Commercial performance "Bizounce" was a commercial success in the United States. It peaked at number fifteen on the U.S. Billboard Hot 100 chart and number four on the U.S. Hot R&B/Hip-Hop Singles & Tracks chart. The single was Olivia's highest charting entry on the Hot 100 chart until her 2005 collaboration with rapper 50 Cent on "Candy Shop" became her only number-one single on the chart. Prior to the release and success of "Candy Shop", Fred Bronson of Billboard viewed Olivia as a one-hit wonder with "Bizounce" as her only previous success. In Canada, the single peaked at number sixteen on the Canadian Singles Chart. As of August 13, 2003, "Bizounce" has sold 415,000 copies. ## Formats and track listings \*; 12" single 1. "Bizounce" (X-Rated) – 3:28 2. "Bizounce" (Instrumental) – 3:28 \*; Cassette single 1. "Bizounce" (Explicit Version) – 3:28 2. "Bizounce" (PG-13 Version) – 3:28 3. "Are U Capable" (Snippet) – 0:29 4. "It's On Again" (Snippet) – 1:22 \*; CD single 1. "Bizounce" (Explicit Version) – 3:28 2. "Bizounce" (PG-13 Version) – 3:28 3. "Are U Capable" (Snippet) – 0:29 4. "It's On Again" (Snippet) – 1:22 ## Credits and personnel Credits adapted from the liner notes of "Olivia", J Records, BMG Rights Management. Management - Tallest True Music/DreamWorks (ASCAP) - Q-Zik Music/Music Pieces (BMI) - Melodic Noise/Plaything Music (ASCAP) - O Lovely Music/Kingmaker Music (ASCAP) Recording locations - Music recording –Tallest Tree Studios (West Orange, New Jersey); Right Track Studios (New York City) - Mixing – Tallest Tree Studios (West Orange, New Jersey) Personnel - Songwriting – Douglas A Allen, David L Conley, Olivia Longott, Quincy Q Patrick, Juan "Magic" Peters, Joshua P. Thompson - Production – Joshua P. Thompson, Juan "Magic" Peters - Vocal production and recording – Olivia, Quincy Patrick, Joshua P. Thompson - Instruments – Juan "Magic Peters, Doug Allen - Mixing – Earl Cohen - Background vocals – Olivia Longott and Quincy Patrick ## Charts ### Weekly charts ### Year-end charts ## Release history

San Marino at the 2012 Summer Olympics

San Marino competed at the 2012 Summer Olympics in London, which was held from 27 July to 12 August 2012. The country's participation at London marked its thirteenth appearance in the Summer Olympics since its début at the 1960 Summer Olympics. The delegation sent by the Sammarinese National Olympic Committee consisted of four athletes: sprinter Martina Pretelli, archer Emanuele Guidi, trap shooter Alessandra Perilli and short-distance swimmer Clelia Tini. Three of the four Sammarinese athletes qualified for the Games by using wild cards for their respective events, bar Perilli who made the Olympics by meeting the required criteria for her sport. Although Pretelli, Guidi and Tini were unable to advance beyond the heats of their contests, Perilli came joint second in the final of the women's trap shooting event. Perilli narrowly missed out on claiming San Marino's first Olympic medal after placing fourth following a shoot-out for the bronze and silver medals. ## Background San Marino first entered Olympic competition at the 1960 Summer Olympics in Rome. Excepting the 1964 Tokyo Summer Olympics, they have participated in every edition of the Summer Olympic Games since, making London the nation's thirteenth appearance in the quadrennial event. No athlete who has represented San Marino has ever won a medal at the Olympic Games. The London Summer Games were held from 27 July to 12 August 2012. The Sammarinesi delegation consisted of four athletes, archer Emanuele Guidi, sprinter Martina Pretelli, trap shooter Alessandra Perilli and short-distance swimmer Clelia Tini. They were accompanied by a press officer and five officials, including the San Marino State Secretary for Sport, Fabio Berardi, and the President of the Sammarinese National Olympic Committee, Angelo Vicini. The delegation flew to London on 24 July. Perilli was selected as the flag bearer for the opening and closing ceremonies. ## Archery The 2012 Summer Olympics marked Emanuele Guidi's first appearance at the Olympic Games at the age of 42. He qualified for the men's individual competition after receiving a wild card from the Tripartite Commission. The archery events at the 2012 London Games were held at the Lord's Cricket Ground. Guidi competed on 27 July in the ranking round, finishing 64th and last of all competitors with 589 points. He scored 110 points less than the leading competitor, Im Dong-Hyun of South Korea. Guidi competed against Im, the second-placed ranked archer in the world, in the Round of 64 three days later. Guidi made a good start but was unable to put Im under pressure throughout the contest and the latter took all three sets of the match to advance into the next round of the contest. After the competition, Guidi said to Reuters, "I am still shaking. Did you see me shaking on the shooting line? I had nothing to lose today. My first objective was being here and I am. I just hope I did not make such a bad performance." ### Men ## Athletics Martina Pretelli was the sole representative of San Marino in athletics and was making her début at the Olympics at the age of 23. She was the first woman athletics competitor sent by San Marino to the Summer Olympics since the 1976 Montreal Games. Pretelli qualified by using a wild card because her best time of 12.15 seconds set at the 2011 Campionati Universitari Italiani in Turin was 0.77 seconds slower than the "B" qualifying standard for the women's 100 metres. San Marino was unable to send high jumper Eugenio Rossi because the governing body of athletics, the International Association of Athletics Federations, denied a request from the Sammarinese National Olympic Committee to allow him to compete in London. Pretelli was drawn in the fourth heat of the women's 100 metres on 3 August, finishing third out of nine runners with a time of 12.41 seconds. She placed 12th overall and did not advance into the quarter-finals after being two-tenths of a second slower than the slowest athlete who made the later stages. Afterwards, Pretelli revealed her training was delayed by tendinitis and she was only able to run three races going into the Olympics. ### Women ## Shooting Alessandra Perilli was 24 years old at the time of the 2012 Summer Games and was making her début at the Olympics. She qualified for the women's trap contest by earning a quota spot through a victory in the 2011 ISSF World Cup in March that year. On 4 August Perilli competed in the qualification round of her event. She finished fifth out of 22nd athletes with a score of 71 points and qualified for the final held the same day due to her result. At the end of the final, Perilli was tied for second place with France's Delphine Réau and Zuzana Štefečeková of Slovakia with 93 points out of a possible 100. She then participated in a three-way shoot-out to determine the winners of the bronze and silver medals Perilli ended up finishing fourth overall and this stopped her from claiming San Marino's maiden medal at the Olympic Games but achieved the nation's best ever result at the Games. Despite the result, she spoke of her satisfaction with the effort she put in and dedicated the performance to her entourage and declared the fourth place result "a medal". ### Women ## Swimming At the age of 20, Clelia Tini was entering the Olympic Games for the first time and was the only athlete to represent San Marino in swimming competition at the London Olympics. She qualified for the Games by using a universality place from swimming's world governing body FINA because her fastest time of 58.12 seconds was 1.58 seconds slower than the "B" (FINA/Olympic Invitation) qualification time for her event, the women's 100 metre freestyle. Tini set herself the goal of lowering her personal best and go below under 58 seconds, "I am very excited but I am also very charged. I am aware that I have prepared very well and have all the credentials to make a race in line with my expectations." She was drawn in heat three on 1 August, placing eighth and last of all swimmers with a time of 58.29 seconds. Tini was 38th overall and she could not advance into the semi-finals as her effort was 3.86 seconds off the slowest competitor who made the later stages. After the event, she declared her happiness over her performance and revealed her preparation for the Olympics were hindered by a back injury. ### Women

German torpedo boat T13

German torpedo boat

The German torpedo boat T13 was the lead ship of her class of nine torpedo boats built for the Kriegsmarine (German Navy) during the late 1930s. Completed in mid-1941, the boat was assigned convoy escort work in the Baltic Sea before she was transferred to Occupied France in early 1942. T13 helped to escort a pair of battleships and a heavy cruiser through the English Channel back to Germany in February in the Channel Dash and then returned to France in July after receiving a refit. There the boat laid minefields and escorted Axis blockade runners through the Bay of Biscay into the Atlantic Ocean. In mid-1943, she was assigned to the Torpedo School where she remained until mid-1944. T13 returned to the Baltic where she screened German ships as they bombarded Soviet positions for the rest of the year. The boat was then assigned convoy escort duties in the Skagerrak around the beginning of 1945. During one such mission in April, T13 was sunk by Royal Air Force (RAF) bombers. ## Design and description The Type 37 torpedo boat was a slightly improved version of the preceding Type 35 with better range. The boats had an overall length of 85.2 meters (279 ft 6 in) and were 82 meters (269 ft 0 in) long at the waterline. The ships had a beam of 8.87 meters (29 ft 1 in), and a mean draft of 2.8 meters (9 ft 2 in) at deep load and displaced 888 metric tons (874 long tons) at standard load and 1,139 metric tons (1,121 long tons) at deep load. 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 1,600 nautical miles (3,000 km; 1,800 mi) at 19 knots (35 km/h; 22 mph). As built, the Type 37 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 amidships and could also carry 30 mines (or 60 if the weather was good). ### Modifications Early-war modifications for the Type 37s were limited to the conversion of the foremast into a tripod mast, installation of a FuM 28 radar with fixed antennas angled 45° to each side and a 2 cm gun superfiring over the main gun. T13 received an additional 3.7 cm gun on her forecastle after November 1941. Boats participating in the Channel Dash in February 1942 were ordered to have their aft torpedo tube mount replaced by a quadruple 2 cm gun mount, but it is not certain if this was actually done. During a refit in May–July, T13 had her single mount in the superfiring position replaced by the quadruple mount. In September 1944 installation of a single 3.7 cm gun was ordered in all surviving boats, either the Flak M42 or the Flak M43, in lieu of the aft torpedo tubes, but it is also uncertain if this was done. Some boats did receive additional 4 cm (1.6 in) Bofors guns. They all received twin 2 cm gun mounts that replaced the single mounts in the bridge wings. Before the end of the war, all of the surviving boats probably had at least two 3.7 cm or 4 cm guns aboard. ## Construction and career T13 was ordered on 18 September 1937 from Schichau, laid down at their Elbing, East Prussia, shipyard on 26 September 1938 as yard number 1401, launched on 15 June 1939 and completed on 31 May 1941; construction was delayed by shortages of skilled labor and of raw materials. She was working up until October when she was transferred to the Baltic for convoy escort duties. The boat was transferred to France in early 1942. On the morning of 12 February, the 2nd Torpedo Boat Flotilla (with T2, T4, T5, T11, T12) and the 3rd Torpedo Boat Flotilla (with T13 and her sisters T15, T16, and T17) 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. T13 then began a refit in Rotterdam, the Netherlands, that lasted until July when she returned to France. On 20–22 July the 3rd Torpedo Boat Flotilla, consisting of T13, her sister T14 and the torpedo boats T4 and T10 laid two minefields in the Channel. The flotilla, now with T13, T10 and T14, laid another minefield in the Channel on 1–2 August. The same three boats escorted the replenishment oiler Ermland as she made an unsuccessful attempt to break out into the Atlantic through the Bay of Biscay on 8–11 August. In September–October, T13 and her sisters T14, T18, T19 and T21 were some of the escorts for German blockade runners sailing from ports in the Bay of Biscay en route to Japan. The boat returned to Germany in March 1943 and began a refit in Hamburg that lasted until August when she was transferred to the Torpedo School. T13 returned to active duty in mid-1944 and returned to the Baltic. Rejoining the 3rd Torpedo Boat Flotilla, T13 and her sisters T18 and T20 sortied into the Archipelago Sea as a show of force on 12–13 September after the Prime Minister of Finland, Antti Hackzell, broke off diplomatic relations with Germany and ordered German forces to leave Finland on 2 September. On the return voyage, T18 was sunk by Soviet aircraft. On 23 September, T13, T17, T19 and T20 escorted the last evacuation convoy from Tallinn, Estonia, to Germany. During 10–12 and 13–15 October, the 3rd Torpedo Boat Flotilla, with T13, T16, T20 and T21, screened the heavy cruisers Lützow and Prinz Eugen as they bombarded advancing Soviet troops near Memel. T13, T19 and T21 escorted Lützow as she bombarded Soviet positions at Memel and Sworbe, on the Estonian island of Saaremaa, on 23–24 October. Screened by the 2nd and 3rd Torpedo Boat Flotillas (T13, T5, T9, T12, T16, T19 and T21) Prinz Eugen and the heavy cruiser Admiral Scheer shelled Soviet positions during the evacuation of Sworbe, between 20 and 24 November. Afterwards, the 3rd Flotilla was transferred to the Skagerrak for convoy escort duties. On the night of 9/10 April 1945, T13 and the escort ship F7 were escorting the transport ship SS Hansa I when RAF Handley Page Halifax heavy bombers attacked the small convoy off Læsø Island and sank T13 and the transport in the early morning of 10 April.

Ammiraglio di Saint Bon-class battleship

Pre-dreadnought battleship class of the Italian Royal Navy

The Ammiraglio di Saint Bon class was a pair of pre-dreadnought battleships built for the Italian Navy (Italian: Regia Marina) during the 1890s. The class comprised two ships: Ammiraglio di Saint Bon, the lead ship, and Emanuele Filiberto. They were armed with a main battery of four 254 mm (10 in) guns and were capable of a top speed of 18 knots (33 km/h; 21 mph). Smaller and less powerfully-armed than most contemporary battleships, they marked a brief departure from Italian capital ship design, which had previously emphasized large ships equipped with large guns. Both ships served in the active duty squadron early in their careers, and participated in the Italo-Turkish War of 1911–1912. They took part in the Italian offensives in North Africa and the island of Rhodes, but did not see combat with the Ottoman fleet. They were reduced to harbor defense ships by the outbreak of World War I, and they spent the war in Venice. The ships were discarded shortly after the end of the war, both having been stricken in 1920. ## Design The previous Italian capital ships, the Re Umberto and the Ruggiero di Lauria classes of ironclad battleships, marked a period of experimentation on the part of Benedetto Brin, Admiral Simone di Pacoret Saint Bon, and the strategists of the Italian navy. Since the planners had not determined what type of battleship would best suit their strategic needs, the government stepped in and mandated a 10,000-long-ton (10,160 t) design, a limit significantly lower than the earlier classes. Following the death of di Saint Bon, Brin took over the design process and proposed a small battleship armed with 10 in (254 mm) guns, a weaker main battery than those of contemporary foreign designs. The ships, much smaller than their contemporaries, and slower than cruisers, were not particularly useful warships. The mistake of building a battleship of only 10,000 tons was not repeated in the subsequent, and much more successful, Regina Margherita class. ### General characteristics and machinery The ships of the Ammiraglio di Saint Bon class were 105 meters (344 ft 6 in) long at the waterline and 111.8 m (366 ft 10 in) long overall. They had a beam of 21.12 m (69 ft 3 in) and a maximum draft of 7.69 m (25 ft 3 in). Ammiraglio di Saint Bon displaced 10,082 long tons (10,244 t) at normal loading and 10,531 long tons (10,700 t) at full load, while Emanuele Filiberto displaced 9,645 long tons (9,800 t) and 9,940 long tons (10,100 t), respectively. The ships had an inverted bow and a relatively low freeboard of only 3 m (9.8 ft). They had a fairly large superstructure with a conning tower and high bridge forward and a large military mast fitted with fighting tops placed amidships. Abreast the mast, each ship carried a number of small boats. Ammiraglio di Saint Bon had a crew of 557 officers and enlisted men, while Emanuele Filiberto had a slightly larger complement of 565. The ships' propulsion system consisted of two triple-expansion steam engines, which drove a pair of screw propellers. Steam for the engines was provided by twelve coal-fired cylindrical fire-tube boilers, which were ducted into a pair of widely spaced funnels. Ammiraglio di Saint Bon's were rated at 14,296 indicated horsepower (10,661 kW), while Emanuele Filiberto's engines only reached 13,552 ihp (10,106 kW). The ships' propulsion system provided a top speed of 18 knots (33 km/h; 21 mph) and a range of approximately 3,400 to 5,500 nautical miles (6,300 to 10,200 km; 3,900 to 6,300 mi) at 10 knots (19 km/h; 12 mph). ### Armament and armor The ships were armed with a main battery of four 254 mm (10 in) 40-caliber guns manufactured by Armstrong Whitworth. The guns were placed in two twin gun turrets, one forward and one aft. The ships were also equipped with a secondary battery of eight 152 mm (6 in) 40-cal. guns in individual casemates amidships. These guns were export derivatives of the British QF 6-inch /40 gun. Ammiraglio di Saint Bon was also equipped with eight 120 mm (4.7 in) 40-cal. guns in shielded pivot mounts directly above the casemate battery, while Ammiraglio di Saint Bon carried six 76 mm (3 in) guns. Close-range defense against torpedo boats was provided by a battery of eight 57 mm (2.2 in) guns and two 37 mm (1.5 in) guns. Emanuele Filiberto had eight 47 mm (1.9 in) guns instead. Both ships also carried four 450 mm (17.7 in) torpedo tubes in deck-mounted launchers. The ships were protected with Harvey steel. The main belt was 249 mm (9.8 in) thick, and the deck was 70 mm (2.75 in) thick. The conning tower was protected by 249 mm of armor plating on the sides. The main battery guns also had 249 mm thick plating on the turrets, and the casemates were 150 mm (5.9 in) thick. ## Ships of the class ## Service Ammiraglio di Saint Bon was built by the Venetian Arsenal in Venice. She was laid down on 18 July 1893, launched on 29 April 1897, and completed on 24 May 1901, although she had been commissioned on 1 February 1901. Emanuele Filiberto was named after Prince Emanuele Filiberto, Duke of Aosta. She was built by the Regio Cantiere di Castellammare di Stabia (Royal Shipyard of Castellammare di Stabia), Naples. She was laid down on 5 October 1893, launched on 29 September 1897, and completed on 16 April 1902, although she had been commissioned on 6 September 1901. The ships spend the first several years in the active duty squadron until they were replaced by the new Regina Elena-class battleships, which entered service by 1908. Both ships took part in the Italo-Turkish War in 1911–1912 in the 3rd Division with the two Regina Margherita-class battleships. Emanuele Filiberto took part in the attack on Tripoli in October 1911, though Ammiraglio di Saint Bon did not see action in the first months of the war. Both ships participated in the seizure of the island of Rhodes, where Ammiraglio di Saint Bon provided gunfire support to the soldiers ashore. The two ships were slated to be scrapped in 1914–1915 due to their age, but the outbreak of World War I in August 1914 prevented their disposal. Italy initially remained neutral during the war, but by 1915, had been convinced by the Triple Entente to enter the war against Germany and Austria-Hungary. Both Ammiraglio di Saint Bon and Emanuele Filiberto were used as harbor defense ships in Venice for the duration of the war, and did not see action there. Neither ship remained in service long after the end of the war. Emanuele Filiberto was stricken from the naval register on 29 March 1920 and Ammiraglio di Saint Bon was stricken on 18 June. Both ships were subsequently discarded.

Significant Other (album)

Significant Other is the second studio album by American rap rock band Limp Bizkit, released on June 22, 1999, by Flip and Interscope Records. It saw the band expand their sound from that of their 1997 debut Three Dollar Bill, Y'all to incorporate further metal and hip hop influences, but with a more melodic and less hardcore punk-influenced sound. Significant Other received high commercial sales, peaking at number one on the US Billboard 200. The band's distinctive sound and performance, which was thought to be an improvement over the band's debut, received positive reviews from the critics. At least 16 million copies of the album have been sold worldwide. ## Production Following the radio success of the band's cover of George Michael's "Faith", the band was determined to record the follow-up to their first album in order to show that they weren't a "Korn ripoff" or a cover band; the band began writing an album which dealt with issues deriving from their newfound fame. Producer Terry Date, known for working with Pantera, White Zombie and Deftones, was chosen by Limp Bizkit to produce Significant Other. Guitarist Wes Borland stated of Date's production, "he doesn't get overly involved at the 'music' end of things. He's a producer who fools with sound and sonically makes everything perfect. He gets sounds that translate really well on tape and pretty much completely captures what we do, perfectly." The band immediately began recording after the conclusion of the Family Values Tour, despite the insistence of Interscope Records that the band take a break after it. ## Music and lyrics Significant Other has been described as a nu metal and rap metal album. An early version of "I'm Broke" was recorded for Three Dollar Bill, Yall\$, but was left off the album because of how different the song sounded from the rest of that album's material. The melody for "Trust?" originated from a melody played in rough form in early 1998, during the Ladies Night in Cambodia tour. In response to claims that the lyrics of Three Dollar Bill, Yall\$ were misogynistic, Fred Durst, member of Limp Bizkit, toned down his lyrical content on this album, which he described as being more lyrically mature. Durst's breakup with his girlfriend inspired the songs "Nookie" and "Re-Arranged". The band allowed Durst and DJ Lethal to explore their hip hop influences by recording with Method Man. DJ Premier of Gang Starr was brought in to produce the collaboration. The band wanted to record "a track that was straight hip-hop", according to Borland. The song was originally titled "Shut the Fuck Up", but was retitled "N 2 Gether Now" for marketing purposes. Durst also recorded a song with Eminem, "Turn Me Loose", which was left off the album. Durst also recorded a song with System of a Down's vocalist Serj Tankian named "Don't Go Off Wandering". Serj's vocals only appeared on the demo version of the song where he sang the bridge and ending chorus but his vocals don't appear on the album version of the song. The band also collaborated with Korn vocalist Jonathan Davis and Scott Weiland of Stone Temple Pilots on "Nobody Like You". Weiland would frequently visit NRG Recording Studios and help with the recording, vocally coaching Durst. Staind singer Aaron Lewis provided backup vocals on the song "No Sex", while Scott Borland, Wes' brother, played keyboards on "Just Like This", "Nookie", "Re-Arranged", "I'm Broke", "9 Teen 90 Nine" and "A Lesson Learned". The song "Show Me What You Got" is a sequel to "Indigo Flow" from Three Dollar Bill, Yall\$. "A Lesson Learned" is a psychedelic trip hop track similar to "Everything" from Three Dollar Bill, Yall\$. Describing the album's music, AllMusic's Stephen Thomas Erlewine said that it contains "flourishes of neo-psychedelia on pummeling metal numbers and there are swirls of strings, even crooning, at the most unexpected background." While the band was opposed to solos, they allowed John Otto to perform an extended drum solo in the middle of "Nobody Like You". Scott Borland wrote string melodies for "Don't Go Off Wandering". The band also recorded interludes featuring celebrity cameos. The first was "Radio Sucks" with MTV VJ Matt Pinfield, in which he rants about "pre-fabricated sorry excuses for singers and musicians who don't even write their own songs" before praising Bizkit for helping launch a musical revolution. The second, "The Mind of Les" featured Primus bass player and singer Les Claypool in what begin as an album intro. Claypool stated, "I came in and they wanted me to write some sort of intro for the record. I got stoned and got in front of the mic and started babbling and they ended up not using the intro and using that instead." ## Cover art The album cover depicts a hooded microphone assassin (supposedly extra-terrestrial) donning Fred Durst's notorious red Yankees cap and striking a mean pose. American artist Mear One created the cover by painting it on a wall as graffiti. A time-lapse video of the process is featured in the enhanced CD version of Significant Other. Since its inception, the hooded figure is often being used as the band's logo as seen in 2003's Results May Vary and 2021's Still Sucks albums. ## Critical reception Significant Other received generally positive reviews from critics. Entertainment Weekly reviewer David Browne wrote, "Significant Other isn't simply modern rock; it's postmodern rock." Robert Christgau gave the album an honorable mention and noted the songs "Just Like This" and "N 2 Gether Now" as highlights of the album, writing, "Give their image credit for having a sound." AllMusic's Stephen Thomas Erlewine called the album "considerably more ambitious and multi-dimensional" than the band's previous album, Three Dollar Bill, Yall\$. In later reviews of the album, About.com's Tim Grierson gave the album 4 out of 5 stars, calling it "A buzz saw of bad attitude, metal guitar and white-boy rapping, Limp Bizkit's breakthrough album, Significant Other, is unapologetically rude and immature. But perhaps more importantly, it also rocks very, very hard." Rolling Stone and its album guide awarded the album three and a half out of five stars. A less favorable notice came from author Martin C. Strong, who gave the album 5 out of 10 stars in his book The Essential Rock Discography. In 2014, Revolver magazine said Significant Other was "one of the great guilty-pleasure hard-rock albums of all time", and listed it as one of ten essential nu metal albums "you need to own." In 2021, it was named one of the 20 best metal albums of 1999 by Metal Hammer magazine. ## Commercial performance Significant Other climbed to No. 1 on the Billboard 200, selling 643,874 copies in its first week of release. In its second week of release, the album sold an additional 335,000 copies. The band promoted the album by appearing at Woodstock 1999 and headlining the year's Family Values Tour. Durst directed music videos for the songs "Re-Arranged" and "N 2 Gether Now". ## Controversy Violent action sprang up during and after Limp Bizkit's performance at Woodstock 1999, including fans tearing plywood from the walls during a performance of the song "Break Stuff". Several sexual assaults were reported in the aftermath of the concert. Durst stated during the concert, "People are getting hurt. Don't let anybody get hurt. But I don't think you should mellow out. That's what Alanis Morissette had you motherfuckers do. If someone falls, pick 'em up. We already let the negative energy out. Now we wanna let out the positive energy". Durst later stated in an interview, "I didn't see anybody getting hurt. You don't see that. When you're looking out on a sea of people and the stage is twenty feet in the air and you're performing, and you're feeling your music, how do they expect us to see something bad going on?" Claypool told the San Francisco Examiner, "Woodstock was just Durst being Durst. His attitude is 'no press is bad press', so he brings it on himself. He wallows in it. Still, he's a great guy." Durst saw the band as being scapegoated for the event's controversy and later stated that the promoters of Woodstock '99 were at fault for booking his band, due to their reputation for raucous performances. While the performance was the subject of much controversy, the violence did not affect sales of Significant Other. The video for "Re-Arranged" would refer to the controversy, with the band being shown on trial for the events of the concert. ## Track listing Notes - On the digital version, "Outro" and "Radio Sucks" are separated tracks (with "Radio Sucks" renamed to "Rant (Matt Pinfield)") and "The Mind of Les" is omitted. ## Personnel Limp Bizkit - Fred Durst – vocals - Wes Borland – guitars, artwork - DJ Lethal – turntables, keyboards - John Otto – drums - Sam Rivers – bass Additional musicians - Method Man – vocals on "N 2 Gether Now" - Les Claypool – spoken word on hidden track - Matt Pinfield – spoken word on hidden track - Anita Durst – guitar, vocals on hidden track - Mathematics - Scott Borland – keyboards - Jonathan Davis – vocals on "Nobody Like You" - Aaron Lewis – backing vocals on "No Sex" - Scott Weiland – backing vocals on "Nobody Like You" Production - Produced by Limp Bizkit, Terry Date, and DJ Premier - Mixed by Brendan O'Brien - Cover art by Mear One ## Charts ### Weekly charts ### Year-end charts ### Decade-end charts ## Certifications

County Route 41 (Onondaga County, New York)

Highway in Onondaga County, New York

County Route 41 (CR 41) in Onondaga County, New York is a 6.20-mile (9.98 km) highway in the Finger Lakes towns of Skaneateles and Marcellus. The route is unsigned, like most of Onondaga County's routes, serving as a connector between the villages. The route begins at an intersection with U.S. Route 20 (US 20) in Skaneateles and heads northeast for most of its length. Route 41 does not intersect with another state-maintained highway, but does follow the former alignment of two. The highway ends at an intersection with CR 83 (South Street) and CR 150 (Platt Road). Route 41 was once part of a realignment of a 19th-century turnpike, the Seneca Turnpike. Being a newer alignment, the signs along the highway read "New Seneca Turnpike". The route, when the 1930 New York State Route renumbering occurred, was designated as part of New York State Route 175 (NY 175) from US 20 to NY 174, which is now part of CR 41. The highway then followed an older alignment of Route 174 southward, out of Marcellus. Route 175 was decommissioned and realigned several times along that alignment, and the Route 174 alignment came in the 1970s. By 1989, Route 41 was assigned along its entire alignment. ## Route description CR 41 begins at an intersection with US 20 (East Genesee Street) in the village of Skaneateles. Route 41 heads to the northeast through the densely populated community, passing homes and trees. The highway then intersects with the northern terminus of East Lake Street, the continuation of NY 41. The county route, however, continues to the northeast, leaving the village portion of Skaneateles at an intersection with Highland Avenue, losing its Onondaga Street moniker. The highway, now known as the New Seneca Turnpike, parallels US 20 in a less dense area of Skaneateles. The highway continues, leaving Skaneateles for the town of Marcellus. After a while, the dense housing becomes farmland and fields, with the highway continuing towards downtown Marcellus. However, as the route progresses farther, this reverts itself, and houses follow along the highway once again. Route 41 then intersects with Gully Road and the Old Seneca Turnpike, a realignment of itself. The real "Old Seneca Turnpike" is intersected farther north. After passing a large farm, Route 41 intersects with the northern terminus of CR 259A (Richard Road). Route 41 passes to the south of a pond, making a swing to the north. The route then makes a swing to the east, and soon after a straight path to the northeast. The highway intersects with CR 211A (Lawrence Road), which heads eastward towards NY 174. After the county route, the population around Route 41 quickly dips, and fields surround the highway. A local road, CR 202 (Murphy Road), starts to the west after a short distance. The northeast curving begins to straighten into a northward track, until intersecting with the southern terminus of CR 236 (Gypsy Road). A short distance after, Route 41 intersects with CR 133, the old alignment of the Seneca Turnpike, and the two highways merge. The county highway then follows the Old Seneca Turnpike along East Main Street, entering the village of Marcellus. Route 41 then makes a turn to the south along an old alignment of NY 174. The population becomes dense once again, as Route 41 follows South Street towards its eastern terminus. Paralleling Marcellus County Park, the highway continues southward. Route 41 finally terminates at an intersection with CR 83 (South Street) and CR 150 (Platt Road). South Street continues towards an intersection with NY 174 and NY 175. ## History ### Old roads Route 41 from US 20 to South Street, is a realignment of the Seneca Turnpike, which was assigned in 1800. Originally chartered as Genesee Road, the Seneca Turnpike consisted of a highway from Canandaigua to Utica. The turnpike had a long track in Onondaga County, running along CR 133, NY 174, NY 175, NY 173, and NY 92. The turnpike was realigned in 1806 onto CR 41 instead of CR 133. After CR 41, it continued along the same track. The Seneca Turnpike Corporation, which maintained the turnpike, closed its doors in 1852. As of 2008, County Routes 41 and 133 still retain the Seneca Turnpike moniker. ### Designation In 1930, during a massive State Route renumbering, the Skaneateles – South Street alignment of CR 41 was assigned as NY 175. The rest was portioned as an alignment of NY 174. The NY 174 alignment remained intact for many years, while NY 175 went through several different alignments. NY 175 was truncated off the CR 41 alignment by 1936, until being realigned back onto the highway in the 1960s. However, this time, the highway was maintained by the Onondaga County Department of Transportation. NY 175 was realigned by 1989 onto CR 73 (the Lee Mulroy Highway) south of CR 41. The alignment of CR 41 in Marcellus was established as a county highway in the 1970s and 1980s, when NY 174 was realigned onto a different highway. ## Major intersections ## See also - County Route 236 (Onondaga County, New York) - Seneca Turnpike

Pakistan at the 2010 Winter Olympics

Pakistan competed in the Winter Olympic Games for the first time at the 2010 Winter Olympics in Vancouver, Canada. Pakistani skier Muhammad Abbas raced in the men's giant slalom, placing 79th. Abbas was also the country's flag bearer in the opening and closing ceremonies. ## Background The first ski resort in Pakistan was opened in 1958, in the Naltar Valley. It was originally for air force pilots to train, but later opened up to civilians. The Ski Federation of Pakistan was founded in 1990. The 2010 Olympic Games was Pakistan's debut at the Winter Olympics. They first participated at the Summer Olympics in the 1948 Games, and won their first Summer Olympics medal in 1956. The country's sole athlete, alpine skier Muhammad Abbas, carried the country's flag at both the opening and closing ceremonies. ## Alpine skiing Muhammad Abbas was Pakistan's first Winter Olympic athlete, competing in the giant slalom. He trained for two weeks in 2008 and six weeks in Austria in 2009, training under an Austrian coach. The slope he trains on in Pakistan is about 500 meters long, with a 100 meter elevation change. The Olympics were his first competition of 2010, since he did not have money to compete in other contests. The Ski Federation of Pakistan considered spending approximately \$7000 on his training, but decided to save that money for future skiers. The event was supposed to start on February 21, but was postponed two days to allow for the men's super combined to take place. Abbas finished the first run in 1:38.27, placing 87th on that run. On his second run, he completed the event in 1:42.31 in 79th place. His total time was 3:20.58, for 79th place overall, out of 81 competitors that finished the event.

Li He

Chinese writer

Li He (c. 790–791 – c. 816–817) was a Chinese poet of the mid-Tang dynasty. His courtesy name was Changji, and he is also known as Guicai and Shigui. He was prevented from taking the imperial examination due to a naming taboo. He died very young, and was noted for his sickly appearance. He was a diligent poet, going out on journeys during the day and, when a line of poetry came to him, jotting it down, and completing the poems when he arrived home in the evening. His poems famously explored ghostly, supernatural and fantastic themes. His popularity and place in the Chinese literary canon has fluctuated throughout the centuries. His idiosyncratic style of poetry was frequently imitated in China until the Qing dynasty. During this era, the popularity of his poetry suffered from a change in literary tastes, with his works notably being excluded from the influential Three Hundred Tang Poems, but there was a revival of interest in him in the twentieth century. He was among the Tang poets most admired by Mao Zedong. ## Names His courtesy name was Changji, and he is also known by a combination of his surname and courtesy name, Li Changji. He was also known as Guicai (鬼才, "devilish talent") by contrast of his morbid poetic style to Li Bai's Tiancai (天才 "heavenly talent") and Bai Juyi's Rencai (人才 "humanistic talent"). This title was given him by the Song scholar Qian Yi [zh] in his work Nanbu Xinshu [zh]. He was also dubbed the "Poetry Devil" (詩鬼), while Li Bai was called the "Poetry Immortal" (詩仙) and Du Fu the "Poetry Sage" (詩聖). ## Biography ### Background and early life His family were of distant royal descent (from the Li family who were the ruling dynastic family of the Tang dynasty), but his branch's fortunes had declined early on, and by Li He's time they were of low rank. Both the Tang state histories refer to him as a "descendant of Zheng Wang", but there is dispute as to the identity of Zheng Wang. The theory with more support among scholars is that it refers to Zheng Xiao Wang Liang (zh), an uncle of Li Yuan, the first Tang emperor; another theory is that it refers to the thirteenth son of Li Yuan, Zheng Wang Yuan Yi (zh). He was born in 790 or 791. It seems likely that he was born in the year of the Horse, as some twenty-three of his surviving poems use the horse as a symbol for the poet. A native of Fuchang County (west of modern-day Yiyang County, Henan Province), he started composing poetry at the age of seven, and by around 15 he was being compared to the yuefu master Li Yi. ### Political career When Li was 20, he attempted to take the Imperial Examination, but was forbidden from doing so because of a naming taboo: the first character (晉, jin) of his father's given name (晉肅, Jinsu) was homophonous with the first character (進) of Jinshi (進士), the name of the degree that would have been conferred on him had he passed. Ueki et al. (1999) speculate that this was a pretext devised by rivals, who were jealous of his poetic skill, to prevent him from sitting the examination. Han Yu, who admired his poetry, wrote Hui Bian (諱弁) to encourage him to take the exam, but Li was ultimately unsuccessful. He served only three years, in the low-ranking office of Fenglilang (奉禮郎) before returning to his hometown. ### Sickness and death He is described as having a very sickly appearance: he was supposedly very thin, had a unibrow, and let his fingernails grow long. Li He died a low-ranking and poor official in 816 or 817, at the age of 26 or 27. The Short Biography of Li He reports that at the hour of his death he was visited by a figure in scarlet who told him that Shangdi had summoned him to heaven to write poetry. ## Poetry In literary history, Li is generally considered a poet of the so-called Middle Tang period, which spanned the late-eighth and early-ninth centuries. Among his poetic influences were his older contemporary Meng Jiao and the aforementioned Han Yu. Other sources that have been identified as influencing Li's poetry were the shamanistic elements of the Chu Ci and the idiosyncratic poetry of Li Bai. About 240 of his poems survive. The New Book of Tang reports that few of his poems survived because of their strangeness and because of Li's early death. An anecdote in the Taiping Guangji records that a cousin of Li's was asked to compile a collection of his poems, but because he did not like Li personally he eventually threw what had been collected in the privy. There are two extant anthologies of his poems: the Collected Songs and Verses of Li He (simplified Chinese: 李贺歌诗篇; traditional Chinese: 李賀歌詩篇; pinyin: lǐ hè gē shī piān) and the Wai Ji (Chinese: 外集; pinyin: wài jí). The Short Biography of Li He describes him as a diligent poet, who carried an old brocade bag around with him, and when a line of poetry came to him he would jot it down and put it in this bag. After getting home, he would arrange these lines into a poem. His poetry is unique, filled with fantastic and unusual imagery, which is where he gets his nickname "Guicai" (see above). Virtually none of his surviving poems are in regulated verse form, and his poems make frequent use of inauspicious words such as "aging" (Chinese: 老; pinyin: lǎo) and "death" (Chinese: 死; pinyin: sǐ). In poems like "Tianshang yao" and "Meng tian", he wrote evocatively of the worlds of gods and Buddhas. He also gave eerie descriptions of the world of ghosts in his poems "Qiu lai" and "Shen xian qu". The spiritual symbolism Li employed in the latter poem has been called "nearly impenetrable". "Shen xian qu" was the name of a popular folk song going back at least as far as the Six Dynasties period, and Li's poem borrows the name of this song. The song originated in the Nanjing area, as a ritual song meant to be played at religious ceremonies to invite the favour of the gods. Li's poem describes the supernatural world but this is not the case with the original folk song. He frequently combined colour and feeling imagery in his poetry, as can be seen in his poems "Tianshang yao" (see above) and "Qin wang yin jiu". His poetic style was dubbed Changji-ti (simplified Chinese: 长吉体; traditional Chinese: 長吉體; pinyin: cháng jí tǐ) by later critics, after his courtesy name. The Song commentator Yan Yu listed this as one of the individual author-based styles of poetry that was frequently imitated. ## Reception Several modern Western and Japanese critics, including A. C. Graham, Naotarō Kudō, and J.D. Frodsham, have claimed that Li's poetry was not widely read until the modern era, but this is not entirely accurate. In a 1994 survey, Wu Qiming pointed out that Li was in premodern China more subject to imitation than to neglect. ### Tang and Song dynasties Two poets of the generation following Li He, Du Mu and Li Shangyin, commemorated Li in their prose writings: a preface to Li's collected poems and a short biography of Li, respectively. Du Mu's preface in particular is taken as proof that Li's poetry was being compiled and edited within a few decades of his death, as internal textual evidence dates the preface to 831. The Tang author Pi Rixiu also wrote about Li He's poetry alongside that of Li Bai in his critical work "Liu Zao Qiang Bei" (traditional Chinese: 劉棗強碑; simplified Chinese: 刘枣强碑; pinyin: liú zǎo qiáng bēi). He was also one of a group of Tang poets frequently quoted in the lyrics of Song-era musicians such as Zhou Bangyan (1056–1121). Yan Yu, in his work Canglang Shihua, contrasted Li to the earlier poet Li Bai. The earliest surviving edition of Li's poetry was collected and annotated in the Southern Song dynasty. ### Yuan and Ming dynasties Many shi poets of the Yuan dynasty emulated Li's poetic style. These included Cheng Tinggui (成廷珪), Yang Weizhen, and Gu Ying (顧瑛), as well as the early Ming poet Gao Qi. The Ming scholar Hu Yinglin read Li's poetry politically as "the tones of a ruined state" and recognized that Li's poetic style was especially influential during the latter years of various dynasties. ### Qing dynasty There was an upswing in popularity of Li's poetry from the late Ming to the mid-Qing dynasties. A great many newly annotated collections of Li's poetry appeared during this period, and his poetry was widely imitated. The scholar wrote a five-volume commentary on his poetry. Around the mid-Qing dynasty, though, Li's poetry began to fall out of favour with the literary establishment. The anthologist Shen Deqian included a scant ten of Li's poems in his influential work ''. Shen was highly critical of his contemporaries' tendency to imitate Li's poetry. Li's poetry was also conspicuously absent from the Three Hundred Tang Poems, the arbiter of poetic tastes in the late Qing and early twentieth century. ### Modern era Along with Li Bai and Li Shangyin, Li He was one of the "Three Lis" (三李) admired by Mao Zedong. In 1968, Roger Waters of the rock band Pink Floyd borrowed lines from Li's poetry to create the lyrics for the song "Set the Controls for the Heart of the Sun". In his article on Li for the Chūgoku Bunkashi Daijiten, Japanese sinologist Kazuyuki Fukazawa called him "the representative poet of the Middle Tang". According to French sinologist François Jullien, Li He's poetry was readmitted to the Chinese literary canon "at the end of the nineteenth century ... [when] ... Western notions of romanticism [allowed] the Chinese to reexamine this poet, allowing the symbolism of his poems to speak at last, freeing his imaginary world from the never-ending quest for insinuations." Paul W. Kroll, in his chapter on Tang poetry for The Columbia History of Chinese Literature'', called Li "[t]he most eccentric poet of the T'ang, perhaps in all of Chinese poetry", and dubbed him "the Chinese Mallarmé" for his almost inscrutable poetic style and use of imagery.

Kingdom Rush

2011 video game

Kingdom Rush is a tower defense game developed by Ironhide Game Studio and published by Armor Games. It was released on July 28, 2011, as a browser game, followed by ports for iOS in December 2011, Android on May 13, 2013, and Windows and macOS on January 6, 2014. In the game's medieval fantasy setting, players take control of a general serving under King Denas of Linirea, who must defend the land from an onslaught of evil monsters. Each level is composed of a number of pre-set roads, which the player can place defensive towers around to fight off the approaching monsters. Slaying enemies gives the player gold, which they can use to buy new towers or upgrade existing ones to improve their capabilities. Kingdom Rush was developed over the span of six months by the Uruguay-based developer Ironhide Game Studio. The studio was founded in 2010 by Álvaro Azofra, Pablo Realini and Gonzalo Sande, who conceived Kingdom Rush as their first major project after working on a number of minor flash games. After seeing the success of tower defense games, the three decided to replicate the basic strategy of the genre, combining it with elements of other games they played in their youth. Kingdom Rush was first released on July 28, 2011, as a free browser game. Versions for iOS devices were released in December 2011, followed by ports to Android on May 17, 2013, and Windows and macOS on January 6, 2014. A later release for Nintendo Switch was published on July 30, 2020, and versions for Xbox One and Xbox Series X/S were released on January 24, 2023. The game was a financial success and received generally favorable reviews from critics, who praised the graphics and tower upgrades, with many considering it a standout tower defense game. After release, Ironhide Game Studio supported Kingdom Rush with a number of free content updates and expansions. The game's success incited plans to grow the video game industry of Uruguay, and encouraged Ironhide Game Studio to produce related media. ## Gameplay `Kingdom Rush is a tower defense game set in a medieval fantasy setting. Levels are composed of a number of pre-set roads that enemies march across, and the player must defeat them before they reach the end of the path and drain lives to cause a game over. To prevent enemies from reaching the end, the player must purchase defensive towers at set points around the road to attack any incoming monsters.` The player can choose between four types of towers to place: archers, mages, artillery, and barracks. Each tower type has its own distinct strengths, such as artillery being more effective against grouped monsters, archers better at targeting flying threats, and barracks training soldiers that attack in melee and slow down enemies. Slaying monsters gives the player gold, which they can use to buy more towers or upgrade existing ones. Each tower type can be improved three times before the player must choose between two final upgrades with their own distinct abilities. For example, the final upgrade for a mage tower could be either an "Arcane Wizard" that shoots lightning and teleports monsters back down the road, or a "Sorcerer" that summons a defensive earth elemental and weakens enemy armor. In addition to towers, the player can fight the monsters with two abilities that can be deployed anywhere in the level, and take time to recharge before they can be reused: a powerful meteor spell that deals damage in an area, and a reinforcement ability that summons soldiers to block and distract enemies. Furthermore, the player is also given control of a single hero unit, which is more powerful than typical soldiers, can be moved move freely around the level, and features its own distinct abilities. Completing levels in Kingdom Rush allows the player to unlock new hero options and earn a currency called "stars", which can be spent in exchange for permanent upgrades for towers and defenses. Additional stars can be earned through special challenges on already completed levels, which feature more difficult enemy placements and fewer resources. ### Plot The player takes the role of a general serving King Denas of Linirea. After being dispatched to fight outlaws reported around the city of Southport, the general discovers that the outlaw gangs are actually orc legions serving the evil wizard Vez'nan. Learning that Vez'nan has invaded Linirea, the general returns to the capital city and defends it from the enemy army, proceeding into the nearby mountains with the objective of defeating the wizard. Arriving at the Stormcloud Temple, the resident sorcerers use a spell to teleport the king's army into the wasteland near Vez'nan's tower. The general fights through the wasteland and reaches the tower, defeating Vez'nan and returning home in celebration. In a post-credits scene, a hooded figure discovers and claims Vez'nan's discarded wizard's staff. ## Development Kingdom Rush was developed over the span of six months by the Uruguay-based developer Ironhide Game Studio. The studio had been founded in 2010 by Álvaro Azofra, Pablo Realini and Gonzalo Sande, who conceived Kingdom Rush as their first major project after working on a number of minor flash games. After seeing the success of tower defense games, the three decided to replicate the basic strategy of the genre, combining it with elements of other games they played in their youth. The medieval theme was inspired by references of knights and wizards throughout popular media, in addition to the team's experiences as Dungeons & Dragons players. The programming was managed by Realini, while the art design was done by Sande, who focused on creating a cartoon-esque style that would feature a significant amount of detail. The team received no feedback during the development process, and had run out of money and savings by the time of release. The initial flash version of the game received one of the most favorable ratings on Kongregate and was a financial success, with the studio brokering a deal with their marketer and publisher Armor Games for ports to mobile devices. Realini took charge of coding and programming the port for iOS, which was finished after four months, reaching the top charts of the App Store and attracting over 100 million downloads. ## Release Kingdom Rush was first released on July 28, 2011, as a free browser game, becoming one of the most popular games on the Kongregate game portal within a few days of launch. Versions for iOS devices were released in December 2011, followed by ports to Android on May 17, 2013, and Windows and macOS on January 6, 2014. A later release for Nintendo Switch was published on July 30, 2020, followed by versions for Xbox One and Xbox Series X/S on January 24, 2023. After release, Ironhide Game Studio supported Kingdom Rush with a number of free content updates and expansions. An update called "Winter Storm" was released on March 21, 2013, adding a harder difficulty mode, new hero options, and two levels centered around the player fighting against the troll warlord Ulguk-Kai. A new set of levels collectively called the "Burning Torment" campaign was introduced on October 3, 2013, adding two additional heroes, five new types of enemies, and a boss fight against Moloch the Archdevil. A free level called the Fungal Forest was released on December 19, 2013, alongside a new hero and a boss fight. An expansion composed of four levels and featuring eight new enemies was added for iOS on January 21, 2015, with the campaign centered around a battle against the evil Lord Blackburn and his undead army. ## Reception According to the review aggregate website Metacritic, Kingdom Rush received "generally favorable reviews" for its iOS version. Critics considered Kingdom Rush to be a standout tower defense game, with reviewers calling it memorable, and "an instant classic". IGN and Paste applauded the graphics, believing that they set a lighthearted mood that complimented the gameplay. Pocket Gamer wrote that the visuals and sound effects created a "sense of fun" that prevented gameplay from becoming tedious or repetitive. Eurogamer further appreciated the art, writing that it acted as distinct element of the game that complemented its upgrade systems. Although reviewers found the structure of gameplay to follow familiar conventions of the tower defense genre, they highlighted the customization offered by the different upgrades. TouchArcade liked the strategic choices available to the player, calling the presentation of the upgrades modest, with their customization expansive in variety. The reviewer considered the upgrades to all have value, noting that game did not overtly coerce players into choosing a specific one. Similarly, IGN found the final upgrades demonstrated a level of utility beyond the four base tower options, and gave prudent players a distinct advantage. The difficulty of Kingdom Rush was subject to commentary from reviewers, who considered the game challenging. TouchArcade found gameplay to be satisfying regardless of the chosen difficulty mode, and said that none of the challenges were frustrating. IGN agreed with this assessment, writing that none of the levels felt unfair, and were instead well-balanced and executed. Some reviewers said that the game's tough difficulty was offset by the easygoing tone and presentation of gameplay, Pocket Gamer shared in this viewpoint, calling the game "a rare combination of frustration and frivolity" that nonetheless remained fun. The reviewer concluded by saying that the game's combination of challenging mechanics with a lighthearted tone helped it stand out from the rest of the tower defense genre. ## Legacy The success of Kingdom Rush prompted plans to help grow the games industry of Uruguay, which had a small number of developers and lacked a formal developer association at the time of release. Ironhide Game Studio would later add in-app purchases to the game to help monetize the game's success. The team began development of a sequel called Kingdom Rush: Frontiers, which they decided to self-publish. Frontiers was planned to expand upon the narrative presented in the original game while presenting new upgrades for towers and skill trees for heroes. The franchise was further supported when the developers released comic books that built upon the story. Kingdom Rush: Frontiers was first released on June 6, 2013, for iOS, receiving "generally favorable reviews" according to Metacritic. A prequel to the original game called Kingdom Rush: Origins was released for iOS and Android on November 20, 2014, featuring a story involving a nation of elves waging war against their ancient enemies. A further entry in the franchise called Kingdom Rush: Vengeance was released for iOS and Android on November 22, 2018. The story of Vengeance sees the player controlling the dark wizard Vez'nan and his army, helping them fight against elves, dwarves, and the playable characters of the previous three games. Major changes to gameplay mechanics in Vengeance include the removal of the two final upgrade options, and the addition of sixteen different tower types, of which the player can choose to use up to five during gameplay. Ironhide Game Studio released a spin-off game titled Legends of Kingdom Rush on June 11, 2021, for iOS through Apple Arcade. Unlike the other entries in the series which are tower defense games, Legends is a turn-based strategy game.

Johanna Welin

German wheelchair basketball player

Johanna Welin (born 24 June 1984) is a Swedish-born German 2.0 point wheelchair basketball player. She played for USC Munich in the German wheelchair basketball league, and for the national team that won the gold medal at the 2012 Summer Paralympics in London, after which President Joachim Gauck awarded the team with the Silbernes Lorbeerblatt (Silver Laurel Leaf). ## Biography Johanna Welin was born on 24 June 1984 in Pajala, Sweden, a small town near the border between Sweden and Finland about 100 kilometres (62 mi) north of the Arctic Circle. She has played football for Töreboda IK in the Swedish league. In the winter, her passion was snowboarding, until a bad fall in a snowboarding competition at Gothenburg in January 2004 left her paralysed from the waist down. She then took up wheelchair basketball, playing for GRBK Gothenburg in the Swedish league, but Sweden had no national women's team. She spent two semesters studying German in Insbruck, but there was no wheelchair basketball team there, and she began playing for USC Munich, initially for their second team. There, she caught the attention of Holger Glinicki, the coach of the German national team, who asked her if she would like to play for the German national team. She took German citizenship, a relatively painless procedure for an athlete, and made the German national team, which went on to win gold at the 2011 European Championships in Nazareth, Israel, defeating the Netherlands in the final, 48–42. In June 2012 she was named as part of the team that competed at the 2012 Summer Paralympic Games in London, where they faced the Australia women's national wheelchair basketball team, a team that had defeated them 48–46 in Sydney just a few months before. They defeated the Australians 44–58 in front of a capacity crowd of over 12,000 at the North Greenwich Arena to win the gold medal, the first that Germany had won in women's wheelchair basketball at the Paralympics since 1984. They were awarded another Silver Laurel Leaf by President Joachim Gauck in November 2012 and were again named Team of the Year for 2012. In February 2013, Welin's name was entered in the Golden Book of Munich. The German team claimed silver at the 2014 Women's World Wheelchair Basketball Championship in Toronto, Ontario, Canada, and beat the Netherlands in the 2015 European Championships, to claim its tenth European title. At the 2016 Paralympic Games, it won silver after losing the final to the United States. She has modelled for the advertising campaigns of team sponsors ING DiBa and LoFric, and is currently studying medicine in Munich. ## Achievements - 2011: Gold European Championships (Nazareth, Israel) - 2012: Gold Paralympic Games (London, England) - 2013: Silver European Championships (Frankfurt, Germany) - 2014: Silver at the World Championships (Toronto, Canada) - 2015: Gold at the European Championships (Worcester, England) - 2016: Silver at the Paralympic Games (Rio de Janeiro, Brazil) ## Awards - 2012: Team of the Year - 2012: Silver Laurel Leaf - 2013: Entry in the Golden Book of Munich

New Harmony Toll Bridge

Bridge across the Wabash River

The New Harmony Toll Bridge, also known as the Harmony Way Bridge, is a now-closed two-lane bridge across the Wabash River that connects Illinois Route 14 with Indiana State Road 66, which is Church Street in New Harmony, Indiana. The bridge links White County, Illinois with Posey County, Indiana and carried U.S. Route 460 from 1947 until 1974 when the highway was decommissioned in Illinois and Indiana. The four-span bridge is owned by the White County Bridge Commission and was built without federal funds in 1930 by the Big Wabash Bridge Company of Carmi, Illinois. The next bridge across the Wabash about 15 miles (24 km) downstream is the Wabash Memorial Bridge near Mount Vernon, Indiana and the next bridge upstream is for Interstate 64, which does not allow farm vehicles. ## Details As originally designed, the bridge is 2,579 feet (0.49 of a mile) long. It has 47 spans and a 20 foot wide concrete roadway. The bridge is the first highway bridge erected across the lower Wabash River and the oldest remaining bridge in use over the Wabash's length in Illinois and half of Indiana. The original owner was a private company, the Big Wabash Bridge Company of Carmi, Illinois, which was chartered by Congress to build and operate the bridge on May 1, 1928. The company contracted with the Nashville Bridge Company of Nashville, Tennessee to build it. The bridge opened on December 21, 1930, and 10,000 people attended the dedication of the bridge on December 30, 1930. In 1941, Congress created the White County Bridge Commission as a joint Illinois-Indiana agency to purchase the bridge from the Big Wabash Bridge Company for \$895,000. About 900 vehicles crossed the bridge each day. The bridge collected an average of \$30,000 in monthly tolls and had \$22,000 in monthly expenses. The bridge was placed on the National Register of Historic Places in 2007 in part because of its relationship to historic New Harmony, Indiana, as well as the bridge's age. The three-member commission was established by Congress on April 12, 1941, but Congress repealed the statute providing for an appointment mechanism in 1998. The commission's general manager, who is 75, speculated that the bridge would close if the three current commissioners would resign or die. In 1951, the current toll booth on the western edge of the river was constructed by the Electronic Signal Company, to replace an earlier booth on the eastern edge. In 1952, a tollpayer sued to exercise his right to inspect the books and records of the commission, but lost his lawsuit and was not allowed access. In 1955, the General Accounting Office issued a report critical of the commission and claiming that one commissioner had a conflict of interest. In response, the U.S. Department of Justice filed a suit seeking removal of the commissioner and recovery of the misapplied funds. However, the courts dismissed the case. In 1994, the commission contracted to apply an epoxy coating on the bridge's surface, but the coating delaminated and the commission refused to pay the contractor claiming that the coating had not been applied correctly. After a trial, the commission lost the lawsuit and paid. From September 2007 to April 2008, the bridge to closed to all traffic when cracks appeared in some of the concrete support piers. During the closure, contractors added new pilings to the existing piers and made other required repairs. In 2010, engineers determined that the bridge required an additional \$6 million in repairs. The National Bridge Inventory rated the bridge "Structurally Deficient." ## Closure On May 21, 2012, it was announced that the bridge would close permanently at noon on May 29, 2012. White County Bridge Commission member Jim Clark stated, "the cost to make repairs was more than we could imagine." However, Clark then made the decision to close the bridge immediately after receiving the complete report from a team of nine engineers who inspected the bridge. "I knew it was bad, but didn't know just how bad until I received their full report by email Monday morning," Clark said. "Once I saw their weight-load calculations, I knew we had to shut it down right away. We couldn't wait until May 29." The thirteen toll booth employees were laid off. As of the closure there are \$49,015 in toll tickets that have not been used. Refunds were given for thirty days from the closure. The closure of the New Harmony Bridge as reported in the Evansville Courier & Press would have a significant impact on farmers in the area and the oil industry. The bridge's closure increases the distance between New Harmony and Crossville, Illinois, by about ten miles. The New Harmony Toll Bridge was identified as a top priority among the thousands of rural bridges in the United States worthy of repair in President Biden's “American Jobs Plan” proposed on March 31, 2021. The Bill must first be approved by The US Congress, including votes by Indiana's 8th Congressional District Representative Larry Bucshon and US Senators Todd Young and Mike Braun. All three subsequently voted against the final bill. On the Illinois side, Mary Miller of Illinois's 15th congressional district voted no, while Senators Dick Durbin and Tammy Duckworth voted yes.

Hurricane Darby (2004)

Category 3 Pacific hurricane in 2004

Hurricane Darby was the first Eastern Pacific major hurricane since Hurricane Kenna in 2002. The sixth tropical cyclone, fourth named storm, and second hurricane of the 2004 Pacific hurricane season, Darby developed from a tropical wave that emerged from the west coast of Africa on July 12. After crossing into the Eastern Pacific, the storm became a tropical depression on June 26. The system steadily intensified, and became a hurricane on 000 UTC July 28. Darby peaked as a Category 3 hurricane on the Saffir-Simpson Hurricane Scale, though it quickly deteriorated due to cooler waters and increasing wind shear. While Darby dissipated on August 1, the remnants of the tropical cyclone affected the Hawaiian Islands. The system produced high waves and heavy rainfall that led to extensive flash flooding. Numerous roads were closed, while minor landslides and rockslides were reported. Despite the effects, no fatalities or severe damages occurred. ## Meteorological history A tropical wave emerged from the west coast of Africa on July 12 and entered the Atlantic Ocean. The wave progressed westward, crossing the Atlantic and Caribbean Sea before crossing into the Eastern Pacific on July 20. The west began to exhibit signs of development on July 23. The next day, the National Hurricane Center (NHC) noted an associated area of showers and thunderstorms, indicating that gradual development was possible. The system had become better organized and on July 25, the NHC continued to remark upon the potential for the weak low pressure area—accompanied by disorganized convective activity—to develop. On July 26, the system became better-organized, and under favorable conditions it was upgraded to a tropical depression at 1200 UTC, while located about 760 miles (1,220 km) to the south-southwest of Cabo San Lucas, Mexico. Under the steering currents of a subtropical ridge of high pressure, the depression continued moving westward. Upon becoming a tropical cyclone, the depression contained a somewhat well-defined low-level center of circulation, as well as convective banding. Based on Dvorak classifications, the storm was upgraded to a tropical storm at 0000 UTC on July 27; as the fourth tropical storm of the 2004 season, it was named Darby by the NHC. Darby continued to intensify, with established outflow and a well-defined banding feature. Later that day, forecasters predicted the storm to peak as a Category 1 hurricane on the Saffir-Simpson Hurricane Scale. Darby was upgraded to a hurricane at 0000 UTC on July 28, at which time it began to turn towards the northwest. An eye, embedded within the deep convection, developed later in the day. Darby attained Category 2 intensity at around 1800 UTC, and it rapidly strengthened to Category 3, becoming the first Eastern Pacific major hurricane since Hurricane Kenna of the 2002 season. Shortly after peaking in intensity, Darby moved over coolers waters and began to deteriorate. The eye became less well-defined and the associated convection started weakening. Increasingly colder waters and growing wind shear continued to affect Darby, and the cyclone weakened to a tropical storm on July 30. The low-level center of circulation became exposed from the thunderstorm activity, and the storm quickly degenerated into a swirl of clouds, although it maintained tropical storm strength. On July 31, it weakened to a tropical depression. Darby soon crossed into the Central Pacific Hurricane Center's area of responsibility, and it dissipated as a tropical cyclone on August 1. However, its remnants continued westward under the low-level trade winds, and dropped heavy rainfall on Hawaii several days after the cyclone dissipated. ## Impact Upon reaching the Hawaiian Islands, the remnants of Darby contributed to heavy rainfall and high winds, prompting the issuance of flash flood watch. Along the eastern shores of Kauai, Oahu, Molokai, Maui, and the Island of Hawaii, the system generated 4 to 8 feet (1.2 to 2.4 m) swells. The Honolulu Airport reported a daily record of 2.92 inches (74 mm) of rainfall, breaking the previous record of 0.96 inches (24 mm) set in 1948. Elsewhere, parts of Maui reported in excess of 8 inches (200 mm) of precipitation, while 4.6 inches (120 mm) fell on Oahu. The rainfall was beneficial in some areas, where dry conditions had persisted. Although crop damage from the storm system was limited, some farming operations were postponed and some coffee and nut trees were damaged. Along the eastern shores of several Hawaiian Islands, the storm system triggered surf of 4 to 8 ft (1.2 to 2.4 m). The heavy rainfall resulted in flash flooding throughout several areas. On Oahu, roads and some structures were flooded, and minor landslides were reported. On the island, telephone and electrical service were disrupted. At one location, a large boulder rolled down a hillside and struck a fire hydrant; firefighters were called to shut it off. On Kauai, the Wailua River exceeded flood stage on August 4. Small stream and drainage ditch flooding was reported in the Kau District of Hawaii. Excessive runoff around Kailua-Kona resulted in extensive flooding that forced the closure of five schools, submerged several roads, and triggered rockslides. Due to high water, several roads, including part of the Piilani Highway on Maui, were temporarily shut down. A portion of the Kamehameha Highway was also closed after being submerged under waters of up to 1.5 feet (0.46 m) deep. Despite the flooding, neither Darby nor its remnant moisture caused any casualties or severe property damage. ## See also - List of Hawaii hurricanes - Other tropical cyclones named Darby - Timeline of the 2004 Pacific hurricane season - Hurricane Blas (2022)

Battle of Long Khánh

1971 battle of the Vietnam War

The Battle of Long Khanh (6–7 June 1971) was fought during the Vietnam War between elements of 1st Australian Task Force (1 ATF) and the Viet Cong (VC) and People's Army of Vietnam (PAVN) during Operation Overlord. The fighting saw Australian infantry from 3rd Battalion, Royal Australian Regiment (3 RAR) attack a heavily fortified communist base camp in Long Khanh Province, while Centurion tanks providing close support crushed many bunkers and their occupants. Regardless, the VC fought hard to delay the Australian advance and although the bunker system was subsequently captured, along with a second system further south, the Australians suffered a number of casualties and the loss of a UH-1 Iroquois helicopter. With the Australians unable to concentrate sufficient combat power to achieve a decisive result, the bulk of the VC/PAVN force successfully withdrew intact, although they probably sustained heavy casualties in the process. ## Background As a consequence of the overall allied strategy of Vietnamization and with the Australian government keen to reduce its own commitment to the war, 8 RAR was not replaced at the end of its tour of duty in December 1970. 1 ATF was again reduced to just two infantry battalions, albeit with significant armour, artillery and aviation support remaining. The Australian area of operations (AO) remained the same however, with the reduction in forces only adding further to the burden on the remaining battalions. Regardless, following a sustained effort by 1 ATF in Phuoc Tuy Province between September 1969 and April 1970, the bulk of PAVN/VC forces had become inactive and had left the province to recuperate. Accordingly, the Australians shifted focus, turning their attention to denying the VC the chance to resupply by close ambushing around villages and towns, such as Dat Do and Hoa Long. Although not always successful, such operations yielded significant results and by the end of 1970 the Army of the Republic of Vietnam were increasingly responsible for the security of major population centres. Indeed, the major battles of earlier years were now seen as a thing of the past in Phuoc Tuy. However, in May 1971, following a request from Brigadier Bruce McDonald—the task force commander—the Australian AO was extended a further 4 kilometres (2.5 mi) north across the border into Long Khanh Province. Several reconnaissance patrols from the Special Air Service Regiment (SASR) were subsequently inserted in the vicinity of the Courtenay rubber plantation, and later on the other side of Route 2. These patrols were highly successful, detecting the presence of a substantial PAVN/VC force, while a number of VC were also killed. ## Prelude Intelligence reports in June, in conjunction with the invaluable information gathered by the SASR, located the VC D445 Battalion and the PAVN 3/33 Regiment east of Route 2 along the border between Phuoc Tuy and Long Khanh in an area 30 kilometres (19 mi) north of the Australian base at Nui Dat. These reports indicated that the PAVN/VC were attempting to disrupt the continuing pacification program, and were also using the area to rest, retrain and refit. In response the 1 ATF commander, McDonald, launched a brigade-sized "search and clear" operation, known as "Operation Overlord". Named after the D-Day landings during the Allied invasion of Normandy in 1944, the operation was scheduled to begin on the same day, 27 years later. There was some trepidation among the Australian sub-unit commanders about the use of this name, for operational security reasons, as it was felt that it might telegraph their intentions. The concept of operations called for a significant blocking force to be inserted, with 4 RAR/NZ (ANZAC) deployed along the line of the Suoi Ran river, A Squadron, 3rd Cavalry Regiment to their west and United States Army 2/8th Battalion, 3rd Cavalry Regiment to the north-east. Meanwhile, 3 RAR—under the command of Lieutenant Colonel Peter Scott—and the Centurion tanks from C Squadron, 1st Armoured Regiment were tasked with driving the PAVN/VC into these positions. A number of fire support bases would be established, with A Field Battery and 104 Field Battery, Royal Australian Artillery providing indirect fire support in conjunction with American gunners, while 3 RAR would search its AO—belatedly designated as AO Gwenda—with three rifle companies (A,B, and C), while D Company would be held in reserve. The plan envisioned movement by road of both troops and equipment using Route 2, as well as air insertion. The terrain in the new AO was thickly wooded with some areas of secondary growth beneath the 30-metre (98 ft) high canopy, as well as numerous water courses, spurs and re-entrants. ## Battle The operation commenced on 5 June with the insertion of blocking forces consisting of Australian, New Zealand and US troops, followed by the aerial insertion of 3 RAR. The landing zone (LZ) was clear of large trees to about 200 metres (220 yd) and was secured by the M113 armoured personnel carriers (APCs) from A Squadron. As A Company landed it was suddenly engaged by intense fire, which also targeted the unsecured B Company LZ 1,300 metres (1,400 yd) to the south-west. The firing eased after a few minutes, however, thereby allowing the insertion of the remaining companies. The Australians subsequently began patrolling and it soon became apparent that they had been dropped within 500 metres (550 yd) of an extensive bunker system. Signs of a strong PAVN/VC presence were detected almost as soon as 3 RAR began its sweep, while the blocking elements also had a number of sightings, and a few contacts with small parties moving north. Possibly alerted by allied air and road movements, the PAVN/VC seemed to be avoiding open combat. Late on the afternoon of 6 June, 5 Platoon, B Company, located what was thought to be the main PAVN/VC position, however with nightfall approaching, it was decided not to press the attack that night. During the evening a few shots were exchanged between the Australians and VC, and the Australian platoon subsequently withdrew into a night harbour. At 06:00 artillery commenced bombarding the position, and following a half-hour of preparation, 5 Platoon resumed its advance expecting the PAVN/VC to have vacated the position during the night, as they had done numerous times in the past. However, after having proceeded only 90 metres (98 yd) the Australians came under heavy fire from the front and both flanks, suffering several casualties in the initial volleys. It soon became apparent that the platoon was pinned down on the edge of a strongly defended and well-concealed bunker system, with the platoon commander calling for assistance from helicopter gunships, as well as indirect mortar fire rather than risking further casualties by withdrawing. Moving to support the platoon in contact, Scott ordered D Company to conduct an assault against the flank and rear of the bunker complex, mounted in APCs with tanks in support. Two troops of Centurions spearheaded the assault through the jungle from the north, and they soon began receiving heavy small arms fire and rocket-propelled grenades, one of which subsequently caused external damage. Realising that the bunker system was larger than previously estimated, the tanks were forced to halt while the infantry were brought up to begin the assault. Meanwhile, 5 Platoon was in dire straits and was beginning to run low of ammunition, while a number of its M60 machine-guns were also beginning to fail because of the prolonged firing. Moving to outflank the heavily outnumbered Australians, VC were observed emerging from their bunkers. Indeed, only heavy indirect fire and effective suppressing fire from helicopter gunships prevented them from being overrun. Attempting to gain a better position to direct the fire, the B Company forward observer, Lieutenant Ian Mathers, moved forward to 5 Platoon and was killed almost immediately. However, by 09:15 the remainder of B Company was able to link up with the beleaguered platoon, and after an aerial resupply of ammunition, stabilised the situation temporarily. At 11:00, however, a second attempt to resupply B Company resulted in an Australian Iroquois helicopter being shot down by heavy ground fire and exploding on impact. Two crew members were killed and another two injured, while another soldier was injured on the ground. With ammunition exploding among the burning wreckage a number of Australians rushed to aid the injured, scrambling through the debris and removing the unexploded ammunition and pulling the survivors to safety. Subsequently, another winch point was established to the rear of the Australian positions for casualty evacuation and resupply. By mid-afternoon, D Company had moved into position and commenced an assault, pushing through the bunker system from the north-east with the Centurion tanks in close support crushing many bunkers and their occupants with their tracks. The progress of the Australian assault was slowed by thick vegetation and the size of the position, even as the resistance slackened and volume of fire diminished. Indeed, the bunker system was later found to cover nearly a square kilometre and was wider than the front of the assaulting company. Painstakingly the Australians searched each bunker systematically. With the action now over, D Company and the tanks subsequently linked up with B Company and established a night defensive position. During the final assault, C Company, located to the south, had uncovered a second bunker system which was subsequently captured by the Australians after being hastily abandoned. More than 16,000 rounds of M60 ammunition had been fired during the fighting, along with 6,000 rounds of M16 ammunition. The artillery had fired over 1,453 rounds of 105 mm and 200 rounds of 155 mm high explosive in support. Over the next six days Australian pioneer and engineer demolition teams proceeded to destroy the remaining bunkers. ## Aftermath Despite significantly underestimating the size of the position they faced, the Australians had succeeded in pushing the D445 Battalion and the 3/33 Regiment out of a valuable base area intended for long-term use. Regardless, there were few other tangible results to show for the casualties they had incurred as, although numerous blood trails and body parts scattered around the battlefield indicated that PAVN/VC casualties had been heavy, the majority of their dead had either been removed from the battlefield or were entombed in the bunkers that had been crushed by the Australian tanks. The battle had cost the Australians three killed and six wounded, while only five VC bodies were recovered. The PAVN/VC had defended strongly in order to allow an orderly evacuation of personnel and stores, and with the Australians unable to concentrate sufficient combat power rapidly enough to ensure a decisive result, they were largely able to achieve this objective. Unfazed by the loss of their base-camps, the bulk of the PAVN/VC force remained intact and later carried out a highly successful ambush by VC 274th Main Force Regiment on 12 June. Seven Australians were killed and three wounded from the HQ 1 ATF Defence and Employment Platoon in this subsequent action, with the bulk of the casualties occurring when an RPG-7 exploded on a box of M18A1 Claymores sitting atop an M113 armoured personnel carrier, igniting them. Operations in Long Khanh continued however, and the Australians established a number of ambushes on possible withdrawal routes, although little contact subsequently occurred. Operation Overlord finally ended on 14 June and 1 ATF returned to Nui Dat. Overall, despite the heavy contact experienced early on, it had yielded little for the Australians although neither the D445 nor the 33rd Regiment were encountered in Phuoc Tuy again. Overlord was one of the larger task force operations of the war, while it was also the last joint US-Australian battalion-sized operation. Indeed, although the fighting continued, Australian operations began to wind down. On 18 August 1971, Prime Minister William McMahon announced that 1 ATF would cease operations in October, commencing a phased withdrawal. Ultimately, the last Australian forces were withdrawn from South Vietnam by 1973.

You're Not Sorry

2008 promotional single by Taylor Swift

"You're Not Sorry" is a song written and recorded by American singer-songwriter Taylor Swift for her second studio album, Fearless. It was released for download via the iTunes Store as a promotional from the album on October 28, 2008, by Big Machine Records. Swift was inspired to write "You're Not Sorry" by an ex-boyfriend who she realized was the contrary to what he had appeared to be. Produced by Swift and Nathan Chapman, "You're Not Sorry" is a rock power ballad with gentle piano in the verses and dramatic electric guitar in the build-up. A remix version for the television episode of CSI: Crime Scene Investigation, in which Swift made an appearance, was later released. Some critics praised the production of "You're Not Sorry", but others took issue with the balladic production as overdone. The song peaked at number 11 on both the Canadian Hot 100 and the US Billboard Hot 100. In the United States, it was certified platinum by the Recording Industry Association of America (RIAA). On the Fearless Tour (2009–2010), Swift performed a mashup of "You're Not Sorry" and Justin Timberlake's "What Goes Around.../...Comes Around". She included it as part of a mashup with "Back to December" and OneRepublic's "Apologize" on her next tour, the Speak Now World Tour. She also sang the track at the 44th Academy of Country Music Awards in 2009. Swift released a re-recorded version, "You're Not Sorry (Taylor's Version)", as part of her re-recorded album Fearless (Taylor's Version) (2021). The re-recorded version charted on the Canadian Hot 100 and the Billboard Global 200. ## Background "You're Not Sorry" was written by Swift and produced by Nathan Chapman alongside Swift. It was inspired by an ex-boyfriend who was later revealed to be opposite of what Swift had originally thought. Swift recalled that, at first, "He came across as prince charming." As the relationship continued, Swift was informed of numerous secrets about her boyfriend she was not aware of. "And one by one, I would figure them out. I would find out who he really was," she said. She wrote "You're Not Sorry" in an emotional state, which she described as "the breaking point", where she thought to herself, "'You know what? Don’t even think that you can keep on hurting me.'" The circumstances reached a point where she felt she had to walk away. "You're Not Sorry" was first released as a promotional single from Fearless on October 28, 2008, as part of Countdown to Fearless, an exclusive campaign by the iTunes Store. The song was reissued on March 5, 2009, as remix, the same day she made her guest appearance on the television series CSI: Crime Scene Investigation in the episode "Turn, Turn, Turn". The remix was featured in the episode. A re-recorded version of "You're Not Sorry", titled "You're Not Sorry (Taylor's Version)", was released on April 9, 2021, as the ninth track from Fearless (Taylor's Version), the re-recorded version of Fearless. The re-recording was part of Swift's move after a public dispute with Big Machine and talent manager Scooter Braun over the acquisition of the master recordings to her past albums. ## Composition "You're Not Sorry" is four minutes and 21 seconds long. Critics described it as a power ballad with minimal influences of country, contrary to Swift's self-identity as a country musician at the time. Jordan Levin of The Miami Herald characterized the song as a "rebellious rock tune". Anna Rosales from the Evansville Courier & Press thought the track has a "hard rock edge" to it. The song is set in common time and has a slow tempo of 67.5 beats per minute. It is written in the key of E♭ minor and Swift's vocals span two octaves, from G♭₃ to C♭₅. It follows the chord progression E♭m–C♭–G♭–D♭. The musical arrangement contains a prominent pop hook in its refrains, according to Jonathan Keefe of Slant Magazine. Rob Sheffield in Rolling Stone described the track as a "dramatic piano-and-strings ballad". "You're Not Sorry" features a soft piano introduction, and in the refrains progresses with dynamic, loud electric guitars, which eventually reach a solo. The production additionally incorporates cello and strings. Scott Mervis of the Pittsburgh Post-Gazette compared "You're Not Sorry" to a "chanteuse a la Tori Amos". In the lyrics, the protagonist criticizes an ex-lover who betrayed her trust. Sheffield, in a review for Blender, noted the lyrics to "You're Not Sorry" had many "tingling pheromones". Kyle Anderson from MTV said that the theme of "You're Not Sorry" is more serious than the "dreaminess" of the previous upbeat Fearless tracks: "the weight of the lyrics actually weighs down the arrangement (it literally sounds like it's being played just a hair too slow, which creates a palpable tension)." The re-recorded "You're Not Sorry (Taylor's Version)" features an identical production, but critics also commented that Swift's vocals became richer and deeper. Joe Coscarelli opined that the production of the re-recording sounded "fresh and refined", an improvement from the original. Music professor Michael A. Lee observed that on "You're Not Sorry (Taylor's Version)", Swift's vocals are less nasal and come more from the chest, the background vocals are more subdued, and the strings are recorded in a closer proximity to the microphones. ## Critical reception Music critics gave "You're Not Sorry" mixed reviews. Sheffield in Blender described the track as "drippy" and opined that it is not as effective as other upbeat Fearless tracks. Todd Martens from the Los Angeles Times deemed Swift's vocals weak. Nick Catucci of New York commented that "You're Not Sorry" contrasts with Swift's identity as a country-music artist because the track "isn't the stuff of redneck women but earnest suburban princesses". Catucci said that although he could come up with better songs by other singer-songwriters in the last ten years, "this bittersweet bit of pop fluff succeeds splendidly. She's an American idol, on her own terms." Jonathan Keefe of Slant Magazine was more favorable, remarking that the production of "You're Not Sorry" showcases Swift's songwriting with a prominent hook. Craig Rosen of The Hollywood Reporter said the song proved Swift's crossover potential beyond country music. Retrospectively, critics have considered "You're Not Sorry" one of Swift's weaker songs in her catalog. Hannah Mylrea in NME (2020) ranked it 146th out of 161 songs in Swift's discography, calling it "overdone". Nate Jones from Vulture ranked it 122nd in a ranking of Swift's 179 tracks, describing it as an "unflinching kiss-off song". In Rolling Stone, Sheffield placed it at number 111 in his 2021 ranking of Swift's 206-song catalog, highlighting the track for showcasing her vocal development from her debut album. Brittany Spanos from the same magazine praised Swift's singing for conveying the dramatic sentiments: "Her voice pierces through the sound of her band for one of her first truly dramatic vocal deliveries." Joe Coscarelli from The New York Times said he had admired Swift's songwriting "You're Not Sorry" but felt the production "[plods] a little"; after the re-recorded version was released, Coscarelli became more appreciative of the track. ## Chart performance "You're Not Sorry" debuted and peaked at number 11 on the Billboard Hot 100 chart in November 2008, becoming the week's highest debut. After being featured in the CSI series, supported by the remix, "You're Not Sorry" re-entered the Billboard Hot 100 at number 67. It is one of the 13 Fearless tracks that charted within the top 40 of the Billboard Hot 100, breaking the record for the most top 40 entries from a single album. It spent a total of five weeks on the Hot 100. On the Pop 100 chart compiled by Billboard, the track peaked at number 21. By December 2011, "You're Not Sorry" had sold 653,000 copies in the United States. In 2017, the song was certified platinum by the Recording Industry Association of America (RIAA) for surpassing one million units based on sales and streaming. In Canada, it peaked at number 11 on the Canadian Hot 100. ## Live performances Swift performed "You're Not Sorry" on all venues of her first headlining concert tour, the Fearless Tour, which extended from April 2009 to June 2010. During each performance, Swift donned a black cocktail dress with sparkly ornaments along the stomach. She began the performance by sitting on a bench, playing black grand piano. Midway through "You're Not Sorry", Swift ceases playing the piano and commences to sing a cover version of Justin Timberlake's "What Goes Around.../...Comes Around" while whipping her hair, maintaining on the bench. Throughout the remainder of the performance, she intermingled between the two songs as smoke swirled and lightning was projected on the stage. Jon Pareles of The New York Times referred to the performance as one of the night's highlights at the August 27, 2009, concert at Madison Square Garden in New York City. Reed Fischer of Miami New Times attended the March 7, 2010, concert at BankAtlantic Center in Sunrise, Florida and, of the cover of "What Goes Around.../...Comes Around", said, "That, and some extended beating on an oil drum sculpture, made for the only unsavory moments of the night." Alice Fisher of the United Kingdom magazine The Observer believed the performance at the May 7, 2009, concert at Shepherd's Bush Empire in London, England "was undermined by the way Swift writhed on her stool and awkwardly thumped the piano lid in one of the most unconvincing displays of passion I've seen since Footballers' Wives finished." Swift also performed the song at an exclusive performance, hosted by 95.8 Capital FM, the 2009 Academy of Country Music Awards, and the 2009 CMA Music Festival. During her Speak Now World Tour, she used elements of "You're Not Sorry" and "Apologize" while performing "Back To December". She also performed the song three times during the Red Tour and the first night in Houston on the Eras Tour. ## Charts ### "You're Not Sorry" ### "You're Not Sorry (Taylor's Version)" ## Certifications

Chris Higgins (ice hockey)

American ice hockey player (born 1983)

Christopher Robert Higgins (born June 2, 1983) is an American former professional ice hockey winger and current Skills and Development coach for the Vancouver Canucks of the National Hockey League (NHL). While playing college hockey, he was selected 14th overall by the Montreal Canadiens in the first round of the 2002 NHL Entry Draft. He finished a two-year career with the Yale Bulldogs, earning ECAC Hockey Player of the Year honors as a sophomore, before turning professional for the 2003–04 season. After two seasons with the Canadiens' minor league affiliate, the Hamilton Bulldogs of the American Hockey League (AHL), he joined the NHL in 2005–06. He recorded three consecutive 20-goal seasons to begin his NHL career before being traded to the New York Rangers in June 2009. After brief stints with the Rangers, Calgary Flames and Florida Panthers, he joined the Vancouver Canucks in February 2011. Internationally, Higgins has competed for the United States in two World Junior Championships (2002 and 2003) and one World Championship (2009). ## Playing career ### Amateur career (1998–2003) Higgins played four years of high school hockey for Avon Old Farms, a preparatory school in Avon, Connecticut, graduating in 2001. He then opted to play in the National Collegiate Athletics Association (NCAA) with the Yale Bulldogs. Higgins also considered offers from Boston College and Harvard University. In 2001–02, Higgins began a two-year stint with the Yale Bulldogs of the ECAC Hockey Conference. After recording a team-leading 31 points (14 goals and 17 assists) over 27 games as a freshman, he was named the ECAC Rookie of the Year. He additionally received ECAC All-Rookie and Second All-Star Team honors. In the off-season, Higgins was selected 14th overall by the Montreal Canadiens in the 2002 NHL Entry Draft. He became the first ECAC Hockey player to be selected in the first round of the NHL Entry Draft since Normand Lacombe in 1983 (the Buffalo Sabres selected him 10th overall). Returning to Yale for one more season, he improved to 41 points over 28 games, leading his team in scoring for the second consecutive year. Higgins earned ECAC Player of the Year (co-recipient with Cornell Big Red goaltender David LeNeveu) and First All-Star Team honors; he was also recognized regionally on the NCAA East All-American Team. ### Montreal Canadiens (2003–2009) Following his sophomore year, he signed a three-year, entry-level contract with the Canadiens on May 22, 2003. Higgins made his NHL debut on October 11, 2003, registering three minutes of ice time in a 4–0 win against the Toronto Maple Leafs. Struggling to play his way onto the Canadiens' lineup, he was often made a healthy scratch (non-dressing player) in October before being assigned to the team's minor league affiliate, the Hamilton Bulldogs of the American Hockey League (AHL), by the end of the month. He recorded 48 points over 67 AHL games in 2003–04, ranking fifth in team scoring. Due to the 2004–05 NHL lockout, Higgins automatically remained in Hamilton and improved to 51 points, ranking third among Bulldogs scorers. The following season, as NHL play resumed, Higgins made the Canadiens' roster out of training camp. He scored his first career NHL goal on October 6, 2005, against New York Rangers goalie Kevin Weekes during an away game at Madison Square Garden. The Canadiens won the contest 4–3 in overtime. He finished the season with 23 goals, ranking seventh among league rookies, and 15 assists for a total of 38 points. A month into the 2006–07 season, Higgins suffered a sprained left ankle during a game against the New Jersey Devils. At the time of the injury, on November 4, 2006, he was leading the Canadiens with eight goals. Sidelined for 6 weeks, Higgins was limited to 61 games, though still managed to match his previous season's points total with 22 goals and 16 assists. Set to become a restricted free agent in the off-season, Montreal re-signed Higgins to a two-year, US\$3.4 million deal on June 25, 2007. Prior to the start of the 2007–08 season, Higgins was named an alternate captain for the Canadiens. He went on to have a career season with personal bests of 27 goals, 25 assists and 52 points. On November 11, 2008, Higgins recorded his first NHL hat-trick in a 4–0 win over the Ottawa Senators. However, his points total decreased in his fourth NHL campaign with 23 points over 57 games. ### Rangers, Flames and Panthers (2009–2011) Coming off what was the lowest statistical season of his career, he was traded by the Canadiens, along with Ryan McDonagh, Pavel Valentenko and Doug Janik, to the New York Rangers in exchange for Scott Gomez, Tom Pyatt and Michael Busto on June 30, 2009. A restricted free agent at the time of the trade, he agreed to a one-year, US\$2.25 contract with the Rangers six days later. He scored his first goal with the Rangers on November 3, 2009, against the Vancouver Canucks, his team's lone marker in a 4–1 loss. His offensive struggles continued in New York (he recorded 15 points in 55 games) and he was subsequently traded to the Calgary Flames on February 2, 2010. Higgins was dealt, along with Aleš Kotalík, in exchange for Olli Jokinen and Brandon Prust. He scored his first goal with the Flames on March 9, an empty netter, in a 4–1 win against the Detroit Red Wings. Two days later, he suffered a foot injury that sidelined him for the remaining 14 games of the regular season. Splitting the season between New York and Calgary, he had eight goals and 17 points over 67 games. Becoming an unrestricted free agent in the off-season, Higgins signed a one-year, US\$1.6 million deal with the Florida Panthers on July 2, 2010. He had considered re-signing with Calgary, but cited new Florida Panthers General Manager Dale Tallon's experience as a strong factor for joining Florida (Tallon was largely responsible for assembling the Chicago Blackhawks team that won the Stanley Cup the previous season). In December 2010, he was sidelined four games with a Staphylococcal infection in his foot, an injury that was misdiagnosed first as "skate bite," then a spider bite. Higgins later missed an additional seven games the following month with a hamstring injury. ### Vancouver Canucks (2011–2016) With the Panthers out of playoff contention late in the season, the team began trading away numerous veterans and core players. At the NHL trade deadline, on February 28, 2011, Higgins was dealt to the Vancouver Canucks in exchange for defensive prospect Evan Oberg and a third-round draft pick in 2013. The Canucks had reportedly been interested in a different Panthers player, but with a minute left until the trade deadline, Panthers Assistant General Manager Mike Santos called the Canucks back and offered Higgins. In 48 games with the Panthers, he had recorded 11 goals and 23 points. Injured with a hand injury at the time of the trade, he did not debut with the Canucks until March 10. He scored his first two goals as a Canuck on March 27 in a 4–1 win against the Columbus Blue Jackets. He completed the season with 13 goals and 28 points in 62 games between Florida and Vancouver. While Higgins played the majority of the regular season with the Canucks as a bottom-six forward, by the playoffs, he was playing on the second line centered by Ryan Kesler. Entering the post-season as the Presidents' Trophy champions, the Canucks held the first seed in the West. After eliminating the Chicago Blackhawks, Nashville Predators and San Jose Sharks in the first three rounds, the Canucks advanced to the Stanley Cup Finals. Facing the Boston Bruins, the series went to a seventh game, which the Canucks lost 4–0. Following the Canucks' defeat, it was revealed that several Canucks players had been playing with injuries, including Higgins. His injury occurred in the second round against the Predators, when he blocked a shot with his skate, breaking his foot. Over 25 playoff games, Higgins recorded four goals and eight points. Three of his goals were game-winners, tying him with Geoff Courtnall (1994) for the most in a single playoff season by a Canucks player. During the off-season, Higgins re-signed with Vancouver to a two-year, \$3.8 million contract on July 1, 2011. The deal was agreed upon prior to his scheduled unrestricted free agency. During the season, Higgins struggled with two bouts of Staph infection, one in December 2011 and the other in February 2012. He missed a combined 11 games as a result of swelling and suffering from severe side effects to the associated medication. Though he missed time, Higgins also played through the adverse reactions for several games following both bouts with the infection. Through the first half of the season, he often played on the second line with Kesler and David Booth; the trio were dubbed the "American Express Line," as they were all born in the United States. Towards the end of the season, he was consistently placed on the team's third line, a defensive shutdown unit with fellow two-way forwards Jannik Hansen and deadline-acquisition Samuel Påhlsson. Used in both roles over the campaign, Higgins was often recognized as the team's most consistent and hardest-working forward. On the last day of the regular season, he was accordingly awarded the Fred J. Hume Award, voted by fans as the team's "unsung hero." Appearing in 71 games, Higgins recorded 43 points (18 goals and 25 assists), his highest total in four years and fifth among team forwards. On April 2, 2013, Higgins signed a four-year, \$10 million extension with the Canucks. During the 2015–16 season, on January 12, 2016, Higgins was put on waivers after unsuccessful attempts to trade the winger. He cleared waivers the next day and was sent down to the Utica Comets, the AHL affiliate of the Canucks. On March 19, 2016, Higgins was recalled by the Vancouver Canucks after multiple injuries occurred on both the Canucks and Comets rosters. He would finish the season with the Canucks. In the off-season, on June 27, 2016, Higgins's tenure in Vancouver ended when he was placed on waivers by the Canucks for the intention of buying out the remaining year of his contract. On August 30, 2016, unable to secure an NHL contract, Higgins signed a PTO to attend training camp with former club, the Calgary Flames. On October 10, Higgins was released from his tryout. ## International play Higgins played in back-to-back World Junior Championships during his college career. First appearing in 2002, he recorded four goals and two assists over seven games. He helped the United States qualify for the quarterfinal, where they were eliminated by Russia 6–1. The following year, Higgins matched his points total with three goals and three assists. After losing their semifinal to Canada 3–2, the United States lost by the same score to Finland in the bronze medal game. Higgins made his first international appearance for the American men's team at the 2009 IIHF World Championship. He scored his only goal of the tournament in a 4–3 overtime loss to Switzerland in the qualifying round. After losing their semifinal game to Russia, the United States lost the bronze medal to Sweden by a 4–2 score. ## Coaching career On September 11, 2019, it was announced that Higgins had returned to the Vancouver Canucks organization to serve as an assistant director of player development. On December 23, 2020, the Canucks announced they had reassigned Higgins to serve as the team's Skills and Development Coach. ## Playing style Listed at 6 feet (1.8 meters) tall and 203 pounds (92 kilograms), Higgins plays mostly in the style of a power forward. He is known as a two-way player with good skating, capable of contributing offensively while remaining defensively responsible. He has alternated between playing the wing and center positions. Early in his career, he was compared to Dallas Stars forward Brenden Morrow. ## Personal life Higgins grew up in Smithtown, New York, the second eldest among five siblings. His father, Robert, is a New York City firefighter and his younger brother is a New York City police officer. As a youth, Higgins played in the 1996 Quebec International Pee-Wee Hockey Tournament with the Connecticut Yankees minor ice hockey team, and then in the 1997 tournament with the New York Islanders minor team. As a minor, he played on teams with his future Canadiens teammate Mike Komisarek and his future Flames teammate Eric Nystrom, both of whom he remains close friends with. He was a student of Lithuanian hockey coach Aleksey Nikiforov at hockey camps in his teenage years. Though he grew up on Long Island, Higgins was a Montreal Canadiens fan as a child, following after his father; his favorite players on the team were goaltender Patrick Roy and captain Kirk Muller. Higgins left home to join the high school hockey program of Avon Old Farms in Connecticut. Following his high school graduation, Higgins was enrolled in Yale University for two years, majoring in political science while playing on the school's hockey team. Higgins and his ex-partner Chantel have a daughter named Bowen who was born in Vancouver on April 10, 2015. ## Career statistics ### Regular season and playoffs ### International ## Awards and honors

Lebanon women's national football team

Lebanon female national association football team

The Lebanon women's national football team is the official women's national football team of the country of Lebanon. The team was established in 2005, and is controlled by the Lebanon Football Association (LFA), the governing body for football in Lebanon. Whilst the team has yet to qualify for the FIFA Women's World Cup or the AFC Women's Asian Cup, they have finished runners-up at the 2022 edition of the WAFF Women's Championship, and in third place at the 2007 and 2019 editions. Lebanon played their first match in 2006 against Algeria in a 12–0 defeat at the Arab Women's Championship. However, their first qualification campaign took place eight years later, on the occasion of the 2014 Women's Asian Cup. While Lebanon ultimately failed to qualify for the final tournament, they won 12–1 against Kuwait on 9 June 2013 in their biggest win to date. Colloquially called "the Lady Cedars" (Arabic: صبايا الأرز), their home kit is predominately red and their away kit white, in reference to their national flag. From 2014 Lebanon's FIFA ranking has been relatively steady, with their best ranking being 102nd in December 2013 and their worst being 145th between April and August 2021. ## History ### 2005–2018: Formation and first tournaments Known as "the Lady Cedars" (Arabic: صبايا الأرز), the Lebanon women's national team was formed in 2005 as one of the earliest women's national teams in the West Asian Football Federation. Their first match was a 12–0 defeat against Algeria at the 2006 Arab Women's Championship. They finished in last place after three games without having scored a single goal. Their first WAFF Women's Championship campaign was in 2007; after two 3–0 losses, first against Jordan and then against Iran, Lebanon beat Syria 7–0 thanks to an Iman Chaito hat-trick, and finished in third place in the tournament. In their second WAFF Women's Championship in 2011 they were drawn with Iran, Syria and hosts the United Arab Emirates (UAE). After losing their first match against Iran 8–1, Lebanon won 1–0 against Syria. In their final match, against the UAE, Lebanon lost 5–0 and were knocked out of the competition. Managed by Farid Nujaim, Lebanon took part in the qualification campaign for the 2014 AFC Women's Asian Cup. This was their first official qualification tournament, eight years from their inception. They were drawn with Jordan, Uzbekistan and Kuwait in their group. In their first match, they lost 5–0 against Jordan before being defeated by Uzbekistan 4–0. Already eliminated, Lebanon beat Kuwait 12–1 in a consolatory victory, ending their qualifying campaign with three points. Lebanon were drawn with Thailand, Chinese Taipei, Guam and Palestine in the 2018 Asian Cup qualification, to be played in the West Bank in Palestine. However, Lebanon withdrew as they refused to play on the grounds that "it legitimises Israel's occupation of the territory". ### 2019–present: Recent history Coached by Wael Gharzeddine, Lebanon competed in the 2019 WAFF Women's Championship in January. They began their campaign with a slim 3–2 defeat to hosts Bahrain. In their second match, Lebanon's late goals in each half secured a 2–0 win over the UAE. They then suffered a 3–1 defeat to Jordan, before beating Palestine 3–0, finishing in third place. In the 2021 Arab Women's Cup, played in August, Lebanon were drawn with Egypt, Tunisia and Sudan. Following a 0–0 to Tunisia, Lebanon's first-ever draw, they lost 4–0 to hosts Egypt. In their final group stage game, Lebanon beat Sudan 5–1, and finished third in their group with four points. The team began the qualifiers for the 2022 AFC Women's Asian Cup in October 2021, losing 4–0 to Myanmar; a 1–0 win against the UAE, and a 3–0 win against Guam were not enough to qualify them to their first-ever Asian Cup, as Lebanon finished in second place and were eliminated. Between August and September 2022, Lebanon took part in the 2022 WAFF Women's Championship in Jordan under coach Hagop Demirjian. After winning 3–0 against Palestine, Lebanon lost to hosts Jordan 2–1 before winning the last game against Syria 5–2. They finished runners-up in the WAFF Championship for the first time, with Lebanon's Lili Iskandar being voted best player of the tournament. ## Results and fixtures As of 21 July 2023, the complete official match record of the Lebanese women's national team comprises 49 matches: 17 wins, 2 draws, and 30 losses. During these matches, the team scored 84 times and conceded 155 goals. Lebanon's highest winning margin is 11 goals, which has been achieved against Kuwait in 2013 (12–1). The following is a list of match results in the last 12 months, as well as any future matches that have been scheduled. Legend ### 2022 ### 2023 ## Players ### Current squad The following players were called up for two friendly games against Palestine on 18 and 21 July 2023. ### Recent call-ups The following footballers were part of a national selection in the past 12 months, but are not part of the current squad. ## Player records ### Most-capped players As of 21 July 2023. Highlighted names denote a player named to the national team in the past year. ### Top scorers As of 21 July 2023. Highlighted names denote a player named to the national team in the past year. ## Competitive record ### FIFA Women's World Cup ### Summer Olympics ### AFC Women's Asian Cup ### Arab Women's Cup ### WAFF Women's Championship ### Other tournaments ## FIFA ranking Lebanon were first included in the FIFA World Ranking in September 2011, placing in 124th place. Until early 2021, FIFA's ranking criteria required teams to have been active in the previous 18 months to be listed. As Lebanon went inactive for 18 months for several periods, they were unranked in various years (2014, 2016, 2017, 2020). Lebanon's best ranking was 102nd in December 2013, and their worst was 145th between April and August 2021. The table shows the position that Lebanon held in December of each year (and the current position as of 2023), as well as the highest and lowest positions annually. `Best ranking Worst ranking ` ## See also - List of women's national association football teams - Lebanon women's national under-20 football team - Lebanon women's national under-17 football team - Lebanese Women's Football League - Women's football in Lebanon

Adams Avenue Parkway

Road in South Weber, Washington

The Adams Avenue Parkway is a 1.6-mile-long (2.6 km) road that is almost entirely within Washington Terrace, Utah, United States, that connects Interstate 84 (I‐84) with U.S. Route 89 (US‐89/Washington Boulevard). Approximately 1⁄2 mile (800 m) of the southern end of the road is also a private toll road. The southern (toll) section opened in 2001 at a cost of \$8.9 million (equivalent to \$ million in ) and was created after decades of requests by locals to connect the existing 500 East (Adams Avenue) to I‐84. The toll section allowed commuters to bypass the rest of US‐89 through southern Weber County to I‐84. ## Route description The parkway begins at the Adams Avenue interchange on I‐84 (Exit 85) in South Weber in Davis County. (The diamond interchange, which existed prior to the construction of the southern end of the parkway, also provide a connection south to 475 East in South Weber.) On the north side of the interchange is an intersection to the west end of Cottonwood Drive, which continues easterly to Uintah. North of Cottonwood Drive the road widens to five lanes, begins the privately owned toll section, and crosses over the Weber River. (The river forms the border between South Weber and Washington Terrace, as well as between Davis and Weber counties.) Heading northwesterly, the toll section (which has no shoulders, sidewalks, or side roads) has a posted speed limit of 35 mph (56 km/h). Just north of the river the parkway crosses over the Union Pacific Railroad's Evanston Subdivision tracks, before climbing the north river bank. The climb includes an elevation gain of more than 200 feet (61 m), but a maximum grade of nine percent, Near the top of climb, the parkway reaches the tollplaza, which collects the payments for both directions of traffic. After one intersection with 5900 South, which presently serves only the toll road company's headquarters, a single commercial building, private maintenance gives way to a four-lane city street with sidewalks just shy of 5800 South. The roadway continues northeasterly to the top of the hill near 5600 South, where pre-existing Adams Avenue (500 East) heads north, passing the Ogden Regional Medical Center to an intersection with Washington Boulevard (US-89) on the Washington Terrace-South Ogden border. Adams Avenue continues through South Ogden and into Ogden as a minor street one block east of US-89, with a gap near 4600 South and more north of downtown Ogden. In 2006 approximately 1,400 cars traveled the parkway on an average weekday. ## Tolls Tolls are collected in cash or via an ExpressCard account, a prepaid system that offers a discount for a \$10 deposit to the account. The current toll is \$2 in each direction for most vehicles and \$1.00 additional if pulling a trailer. Extra large vehicles are \$1 per axle. Previously emergency vehicles (ambulances) were not charged a toll, however beginning July 3, 2003, they must pay the standard \$2 toll. To allow quick passage through the toll barrier, these vehicles pay through a charge account. The Utah Department of Transportation worked out an agreement during local road construction for four days in 2003 to allow commuters to use the parkway free of charge. ## History The parkway was opened in 2001 after just under a year of construction. Local residents led by Doug and Bruce Stephens urged the state to connect I-84 directly to Adams Avenue, bypassing the congested US-89. Then-governor Mike Leavitt suggested that a private company rather than the state would need to build the road. The roadway cost \$8.9 million (equivalent to \$ million in ) to build, of which the state provided \$2 million (equivalent to \$ million in ). Additional funds came from taxes levied on property owners along the parkway. The entire stretch of road between Washington Boulevard and I-84 was constructed or rebuilt by the Adams Avenue Turnpike LLC; however, they returned most of the road to local authorities. The only portion retained was a one-half-mile-long (0.80 km) segment between about 5800 South and I-84. The roadway is defined under Weber County Ordinance, Title 31, which grants a franchise to Adams Avenue Turnpike LLC for an initial term of 50 years (expiring in 2051). ## Intersections ## See also - List of toll roads in the United States

Stig Inge Bjørnebye

Norwegian footballer (born 1969)

Stig Inge Bjørnebye (born 11 December 1969) is a Norwegian former professional footballer who played in Norway, England, and Denmark, most notably for Liverpool, and is currently the sports director of the Danish football club AGF Aarhus. His preferred position was left back, which he occupied for domestic clubs and the national team. Bjørnebye was appointed assistant manager of Norway in 2003, relinquishing the role three years later to succeed Tom Nordlie as manager of IK Start. He was the sports director of Rosenborg Ballklub from March 2015 until November 2019. For club and country, Bjørnebye was noted for his precise deliveries from the flanks. Described as a "solid, no-nonsense full-back", Bjørnebye played competitive football for 16 years, and appeared in 194 Premier League matches, until injury compelled retirement in March 2003. He represented the Norwegian national team in the 1994 and 1998 FIFA World Cup and the Euro 2000 and was capped 75 times, scoring once. ## Club career Stig Inge Bjørnebye was born in Elverum, the son of skier Jo Inge Bjørnebye, who competed in the 1968 and 1972 Winter Olympics. As a child, Bjørnebye exhibited an interest in emulating his father by becoming a ski jumper. His footballing career began as a youth player with home club Elverum IL, before joining Strømmen IF in the late 1980s. He moved to Kongsvinger IL in 1989, establishing himself as a first-team regular in the Norwegian top division. After three seasons with Kongsvinger, he transferred to Rosenborg in 1992, where he in his inaugural season won the Norwegian top division and the Norwegian Cup, in the final of which he scored the deciding goal against Lillestrøm SK. His performances merited inclusion in the national team and attracted the attention of Liverpool's manager Graeme Souness, who bought Bjørnebye for £600,000 less than one year after moving to Rosenborg. Signed as a replacement for David Burrows, Bjørnebye debuted inauspiciously on 19 December 1992 in a 5–1 defeat to Coventry City. Initial difficulties adapting to the Premier League caused many fans to question his displays on the pitch and he returned to Norway on loan to Rosenborg in 1994. Bjørnebye's experiences as a Reds' player in the 1994–95 season, under the management of Roy Evans, were markedly more successful than that of previous campaigns. He gained a regular place in the senior team, supplanting the left back position from Julian Dicks, and featured in the 2–1 win against Bolton Wanderers in the final of the 1995 League Cup Final on 2 April 1995. Subsequent injury, a broken leg sustained on 5 April 1995 in a 3–1 win match against Southampton, terminated his season and he was replaced by Steve Harkness. Unavailable for several months, Bjørnebye appeared just twice for Liverpool in the 1995–96 season. Recovery and injuries to other left back candidates enabled Bjørnebye to reclaim his place the following season, in which he scored his first goal for Liverpool on 17 August 1996 in a 3–3 draw against Middlesbrough. He contributed to the club's most convincing title challenge since the inception of the Premier League by supplying club strikers Stan Collymore and Robbie Fowler with precise crosses. He was ultimately included in the PFA Team of the Year with Steve McManaman and Mark Wright. The acquisition of Steve Staunton and arrival of Gérard Houllier in the 1998–99 season, limited Bjørnebye's first-team opportunities, leading to his effective marginalisation. Bjørnebye affirmed his recurring determination to stay at Liverpool that season, remarking "If I didn't have any fight in my stomach I'd have left Liverpool at least three times before". Unable to displace Staunton and Dominic Matteo, Bjørnebye agreed to a loan move to Danish side Brøndby IF in 2000, who finished second in the Danish Superliga with Bjørnebye on the team. He decided to permanently leave Liverpool after returning from the European Championship, accepting a £300,000 transfer to Blackburn Rovers that reunited him with former manager Graeme Souness. Promotion to the Premier League was achieved in his first year with Rovers, in the process, Bjørnebye scored his only goal for the club on 11 November 2000, in a 2–2 draw against Portsmouth. His final trophy was gained when Blackburn defeated Tottenham Hotspur 2–1 in the 2002 League Cup Final. Successive injuries after the cup victory disrupted and eventually ended his career as a footballer. While preparing for the 2002–03 season, Bjørnebye fractured his eye socket in a training accident. He complained of double vision, underwent surgery, and was rendered unavailable for seven months. Further injury inflicted during a League Cup match on 17 December 2002, in a 2–0 win against Wigan Athletic escalated, while Bjørnebye was recovering in Norway, necessitating emergency surgery to avert the possibility of foot amputation. Bjørnebye announced his retirement on 11 March 2003. Blackburn manager Graeme Souness reacted to the decision with a statement: > It's a very sad day. As far as I am concerned it could hardly be worse for Stig is the consummate dedicated professional. He is as good a professional as any I have worked with, I couldn’t name anybody better and he is [a] fine role model and a proper, proper human being. Stig has had a wonderful career, it's a great shame that it has to end with a freak training-ground accident as he felt, quite rightly, that he could have played longer. ## International career Bjørnebye was capped 75 times by Norway, scoring once – an olympic goal in a 1–0 friendly against the United States on 8 September 1993. Having represented his country at youth, under-21, and "B" level, Bjørnebye debuted for the senior team on 31 May 1989 against Austria. The majority of his caps were collected during Egil Olsen's eight-year tenure as manager of Norway. Under Olsen's guidance, Norway employed a "long ball" policy that was contingent on the height of Olsen's squad. The tactic of directing long passes to the tall winger Jostein Flo, principally delivered by Bjørnebye, became popularly referred to in Norway as the "Flo Pass" (Flo-pasningen). Although criticised for employing the long-ball approach and maintaining a defensively-orientated mentality, Olsen secured qualification for the World Cups of 1994 and 1998. Bjørnebye participated in both tournaments – seven matches in total. He decided to retire from international football after the 1998 World Cup, intending to focus on his domestic career and family. Bjørnebye unexpectedly reversed his decision after Nils Johan Semb persuaded him to return to the squad for Euro 2000. Unused in Norway's 1–0 win against Spain on 13 June 2000, Bjørnebye was first introduced to the competition in the second match of the group stage, in a 0–1 loss on 18 June 2000 against Yugoslavia, as a 35-minute substitute for his Liverpool colleague Vegard Heggem. He retained his place, featuring in the goalless draw against Slovenia on 21 June 2000, which eliminated Norway from the tournament. His final international match was in a 1–1 draw World Cup qualifier on 7 October 2000 against Wales, placing him ninth in the overall record of appearances for Norway as of 2007. ## Managerial career Bjørnebye returned to football in a non-playing capacity when he was selected by the Norwegian Football Association to replace Harald Aabrekk as Norway's assistant manager, subordinate to the newly appointed Åge Hareide. Prior to the announcement, the media in England had reported that Bjørnebye was considering maintaining a relationship with Blackburn by becoming a scout for the club. He vacated his position in 2006 to succeed Tom Nordlie as manager of IK Start. Success was forthcoming in his first season; the club competed in Europe and Bjørnebye was the highest earning coach of the season, ahead of his predecessor Nordlie, with an income of almost seven million krone. His appointment lasted two seasons, ending with dismissal in September 2007, after a series of poor results that placed the club in serious danger of being relegated from the Tippeligaen. He was replaced by Benny Lennartsson, who was unable to preserve the club's premier league status; Start were relegated to Norway's second tier. On 15 March 2015, Stig Inge Bjørnebye succeeded Erik Hoftun as the sports director of Eliteserien club, Rosenborg Ballklub. He since has won The Double with Rosenborg Ballklub two years in a row, in 2015 and 2016. Rosenborg Ballklub is the first club in the history of Norwegian football to do so two years in a row. As the sports director of Rosenborg Ballklub he has many responsibilities, among many others signing on new players and renewing contracts with existing players. The most notable signing came on 6 March 2017: Nicklas Bendtner signed on for a three-year contract with the Norwegian side. This was the most surprising and most notable signing in the history of Norwegian football. Teammate Pål André Helland commented: "It shouldn't come as a surprise if he becomes the top scorer and we win the league." ## Personal life Bjørnebye is married to the former Byåsen IL handball player Hege Frøseth, with whom he has three children. ## Career statistics ### Club ### International Scores and results list Norway's goal tally first, score column indicates score after Bjørnebye goal. ## Managerial statistics Source: ## Honours Rosenborg - Tippeligaen: 1992, 1994 - Norwegian Football Cup: 1992 Liverpool - Football League Cup: 1994–95 Blackburn Rovers - Football League Cup: 2001–02 Individual - PFA Team of the Year: 1996–97 Premier League

Patient X (The X-Files)

"Patient X" is the thirteenth episode of the fifth season of American science fiction television series The X-Files. It was written by series creator Chris Carter and Frank Spotnitz, directed by Kim Manners and aired in the United States on March 1, 1998, on the Fox network. The episode earned a Nielsen household rating of 12.6, being watched by 20.21 million people in its initial broadcast. The episode received moderately positive reviews from critics. The show centers on FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) who work on cases linked to the paranormal, called X-Files. Mulder is a believer in the paranormal, while the skeptical Scully has been assigned to debunk his work. In this episode, as a rebel alien race secretly attacks several groups of former alien abductees, the agents meet Cassandra Spender (Veronica Cartwright), a woman who claims to be a multiple abductee and wants to deliver a positive message about aliens. Agent Mulder, now skeptical about extraterrestrial activity, is disturbed when Agent Scully forms a special bond with the woman. "Patient X" was a story milestone for the series. It introduced several new recurring characters for the series. It was the first episode to feature Chris Owens as Jeffrey Spender and Veronica Cartwright as Cassandra Spender. It is the first of a two-part story that concludes with the following episode, "The Red and the Black". ## Plot In Kazakhstan, two young boys see an unknown object fall from the sky. Seconds later, they witness a man being burned alive, and one of the boys is killed by an Alien Rebel who has his eyes and mouth sewn shut. The next day, Marita Covarrubias (Laurie Holden) leads an investigation of UN peacekeepers of the area. She runs into Alex Krycek (Nicholas Lea), who has caught Dimitri, the other Kazakh boy. Krycek tells Marita to tell her superiors that "it is all going to hell". Meanwhile, Fox Mulder (David Duchovny) attends a lecture at MIT, where the testimony of Cassandra Spender (Veronica Cartwright), an alien abductee, is being presented. Mulder argues against other members of the lecture over the existence of alien life, claiming that it is a lie created to cover up a program of medical experimentation on civilians run by the military industrial complex. When the lecture ends, Mulder is met by Dr. Heitz Werber, who is surprised to see that Mulder has lost his belief in alien life since the last time they met. Werber tells Mulder that he is Cassandra's doctor, and asks him to visit her. Meanwhile, Krycek, who has beaten Dmitri into telling him what he saw, orders his Russian colleagues to infect him with the black oil. Back in the United States, Werber introduces Mulder to Cassandra, who considers him a hero of hers. She claims that the aliens are in a state of upheaval and that she will be abducted by them again. Mulder tells Cassandra there is nothing he can do for her and leaves. In Russia, Krycek, working against the orders of his superiors, kidnaps the infected Dmitri and flees to the U.S., sewing shut the boy's eyes, nose, and mouth to keep the black oil from leaving his body. At FBI headquarters, Dana Scully (Gillian Anderson) meets Agent Jeffrey Spender (Chris Owens), Cassandra's son, who fears the damage to his reputation if his colleagues learn about his mother. He tells Scully to keep Mulder away from her. Marita reports to the Syndicate, which expected colonization at a much later date. Krycek offers Dmitri to the Syndicate in exchange for all their research on a vaccine. Meanwhile, Scully talks to Mulder about his meeting with Cassandra. She realizes that she has much in common with Cassandra, including being abducted at Skyland Mountain and having an implant inserted in the base of her neck. Scully visits Cassandra, who immediately realizes that she's a fellow abductee. Scully tells her not to remove the implant. Cassandra assures Scully that she never will, as she looks forward to being abducted again. A group of abductees meet at Skyland Mountain and are burned alive by more faceless Alien Rebels. Scully and Mulder visit the scene, with Mulder continuing to be very skeptical of any alien involvement. The Syndicate is shocked by the massacre. Mulder and Scully visit Cassandra again, who knew many of the people who died. They encounter Spender, who is upset about their visit with his mother. Krycek is met by Marita and it is revealed that they are secretly lovers, conspiring against the Syndicate. When Krycek returns to the cell where Dmitri is held, he finds him gone, and the Well-Manicured Man there instead. Mulder finds that the victims of the attack had implants in their necks and all claimed to be abductees. He believes they were led there by the military, not aliens. Mulder is called by Marita, who kidnapped Dmitri. Dmitri pulls the stitches off his eyes, resulting in Marita getting infected with the black oil. Mulder calls Cassandra, looking for Scully, but Jeffrey answers and reveals that Cassandra is gone. At that moment Cassandra is with a group of abductees, including Scully and Dmitri, at the Ruskin Dam, brought there by Syndicate assassin Quiet Willy. The abductees see a UFO appear in the sky. Suddenly screams are uttered as a man is set on fire and two faceless aliens arrive. ## Production ### Casting This episode marks the first appearance of Chris Owens as Jeffrey Spender. Owens previously appeared in earlier episodes, the first being "Musings of a Cigarette Smoking Man", in which he played the younger version of The Smoking Man. Owens later reprised this role in episode "Demons". During the fifth season of the show, Owens was cast as The Great Mutato in "The Post-Modern Prometheus". After his stint on The X-Files, Owens attempted to get a job as a waiter in Vancouver, to no avail. One day, however, he ran into series creator Chris Carter at a bar, who humorously told him, "I didn't know they served guys with two faces here", a reference to his portrayal of The Great Mutato. Carter explained that David Duchovny had "taken careful notice" of Owens' acting abilities and requested that he return to the series in some capacity. Heeding Duchovny's advice, Carter created the role of Jeffrey Spender just for him. "Patient X" also introduced the recurring character of Cassandra Spender, played by Veronica Cartwright. Rick Millikan, the series' casting director, was very pleased with Cartwright's performance, noting, "She's got a voice that adds a little creepiness and a little mystery that I thought played really well. She was just the perfect X-Files person." Because the script called for a number of Russian characters to appear, the show's casting scouts hired a number of Russian expatriates living in the Vancouver, British Columbia, area. Alex Shostak Jr., a teenage Ukrainian immigrant, was selected to play Dmitri. He worked 12–14 hours a day, much of which was spent applying the elaborate make-up effect that gave the appearance that his eyes and mouth had been sewed up. During filming, he was "literally" blind and guided by the crew members throughout the filming of his scenes. When it came to the dialogue, Shostak provided the Russian translation for his own lines. Both Nicholas Lea and Laurie Holden had to learn Russian for the episode, which, according to the former "was 'not hard'." Holden and Lea worked diligently together to perfect their pronunciation, with Holden explaining, "We'd come up with these fun ways to test ourselves to know if we had really nailed it. Show tunes come to mind, but I also remember this one time my dialect coach had me call a Russian friend of his on his cell phone to see if he could understand me. I passed the test." "Patient X" was the first episode in which Lea was credited under the Also Starring tag, alongside Mitch Pileggi and William B. Davis. ### Filming and visual effects Filming the scene with the burning camp was "tricky", according to Kim Manners, as the production crew was forced to follow a number of limiting safety precautions. To light the fires in the episode, the crew made use of propane. Manners wanted the shots to be as close to the fire as possible, so they also used fireproof cameras. According to Manners, "They used a half a million dollar camera on a crane wrapped in asbestos" and ran it through the fire. For the scene in which the alien rebels incinerate people, the production crew used a "very dangerous" stunt known as a "full burn", in which a person is set on fire with the aid of a special suit. In total, the stuntman who performed in the scene was on fire for about 30 seconds—quite a long time by filming standards. Special effects supervisor Toby Lindala supervised the creation of the faceless alien rebels, Dmitri's mutilation, and the incinerated victims of the rebels. Lindala also designed the rig used to infect Dmitri with the black oil. The set for the Russian gulag was erected at North Shore Studios, under production designer Graeme Murray's supervision. The ship scenes were filmed at a warehouse in Vancouver. When filming the Syndicate meeting, Manners wanted Marita Covarrubias to look as strong as possible since this marked the first appearance of a woman in the Syndicate meeting room. Since very little movement occurs during these scenes, the director tried to make things visually interesting by mixing wide shots with unique camera angles. ## Reception "Patient X" premiered in the United States on the Fox network on March 1, 1998. This episode earned a Nielsen rating of 12.6, with a 19 share, meaning that roughly 12.6 percent of all television-equipped households, and 19 percent of households watching television, were tuned in to the episode. It was viewed by 20.21 million viewers. Veronica Cartwright was nominated in the category "Outstanding Guest Actress in a Drama Series" in the 1998 Emmy Awards for her performance in this episode and its follow-up, "The Red and the Black". The episode was later included on The X-Files Mythology, Volume 3 – Colonization, a DVD collection that contains episodes involved with the alien Colonist's plans to take over the earth. Critical reception to the episode was largely positive. Television Without Pity ranked "Patient X" the eighth most nightmare-inducing episode of the show, citing, in particular the abuse of Dmitri. The article noted that "If The X-Files has taught us anything, it’s that if a G-Man asks us if we know anything about anything and we foolishly say yes, our mouths and eyelids will be sewn shut and we will be brainwashed to kill on demand." The A.V. Club reviewer Emily VanDerWerff gave "Patient X" a B+, and wrote that the episode "feels epic, in a way the mythology episodes do at their best". However, VanDerWerff noted that "The problem with breaking the status quo on a TV series is that your audience is always going to know in the back of its head that the status quo isn’t really broken." She reasoned that the audience never fully believed that "Mulder could lose his belief in the all-consuming alien conspiracy" or accept the idea that "Scully could find herself dabbling with belief in [aliens]." Despite these setbacks, however, she noted that "Patient X" was the episode where the series' mythology "gets moving again, after chasing its own tail throughout much of season four and reaching a sort of climax in the opening episodes of season five." Robert Shearman and Lars Pearson, in their book Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen, rated the episode four stars out of five. The two described the tone of "Patient X" as "truly visceral", citing the faceless men incinerating people as well as the mutilation of the innocent Dmitri, who was "at the wrong place at the wrong time". Furthermore, Shearman and Pearson praised the episode for "shift[ing] the goalposts" and allowing Mulder and Scully to switch roles as the believer and skeptic. Paula Vitaris from Cinefantastique gave the episode a moderately positive review and awarded it two-and-a-half stars out of four. Vitaris praised the episode's premise and writing. "'Patient X' is a rare episode in that it actually advances The X-Files mythology, with the news of a vaccine to combat the black oil". However, she was critical of the episode's reliance on shock value, noting that the "camera seems to take a perverse delight in death, pain, and mutilation, with the distressing effect of numbing the viewer to the horror."

Neil Barrett (footballer)

English footballer

Neil William Barrett (born 24 December 1981) is an English former professional footballer who played as a central midfielder. He played in the Football League for Portsmouth and in the Scottish Premier League for Dundee and Livingston. Barrett started his career in the youth system of Chelsea, before joining Portsmouth in 2001. He made over 20 appearances in his first season with Portsmouth, but having not played over a season-and-a-half he moved to Dundee on loan. He joined them permanently in 2004, but left a year later following their relegation from the Scottish Premier League. Following a period with Livingston, he signed for Conference National club Woking in 2007. After half a season with them he joined Ebbsfleet United, and played for them in their victory in the 2008 FA Trophy Final at Wembley Stadium. Barrett left Ebbsfleet after two seasons to sign for York City in 2009 and played for them in the 2010 Conference Premier play-off final at Wembley Stadium. He was released by York in 2011 and after a short spell with Havant & Waterlooville in the Conference South he returned to Ebbsfleet United. After their relegation to the Conference South in 2013 he signed for their divisional rivals Basingstoke Town, but was released by them after one season. He finished his career with spells in the Isthmian League Premier Division with Leatherhead and Metropolitan Police. ## Career ### Chelsea and Portsmouth Barrett started his career as a trainee in the Chelsea youth system. While at the club he was an England schools international. He joined First Division club Portsmouth on 25 June 2001 on a free transfer and made his first-team debut in a 1–0 victory away to Stockport County on 25 August. His first goal for Portsmouth came with the equaliser against Gillingham on 8 September 2001 with a header from a Robert Prosinečki cross, in a match that finished as a 2–1 victory. Barrett was offered a new contract with Portsmouth in October 2001 after impressing in the first team. He finished the 2001–02 season with 26 appearances and two goals, despite not playing any matches for Portsmouth from March 2002. Barrett was taken to hospital with a suspected broken knee suffered during a reserve-team match against Bristol City in September 2002, although an X-ray later confirmed there was no break. However, tests were carried out and he was expected to be out of the team for six weeks to recover from the injury. Having fallen out of favour at Portsmouth, he had a trial at Notts County in December 2002 and manager Bill Dearden commented that Barrett "could be a reasonable prospect". He finished 2002–03 with no appearances for Portsmouth and was told by manager Harry Redknapp he was surplus to requirements. He had a one-week trial with Wimbledon in August 2003, having been told he could leave Portsmouth. ### Dundee Having made no appearances for Portsmouth up to that point during 2003–04, Barrett joined Scottish Premier League (SPL) club Dundee on loan until the end of the season on 23 January 2004. His debut came two days later in the 2–1 victory over Dundee United in a Dundee derby match, in which he made a reasonable contribution and was cautioned for a "bone-crunching" challenge on Charlie Miller. He scored his first two goals for Dundee in the Scottish League Cup against Motherwell, with a shot set up by Sebastian Kneißl and a header, although Dundee went on to lose 5–3. He finished the loan period with 13 appearances and two goals, during which he had to deal with a "serious" ankle injury. He joined Dundee permanently on 18 July 2004, signing a one-year contract, after having his contract at Portsmouth cancelled. He scored his first goal of 2004–05 on 18 December 2004 with a 57th-minute goal against Aberdeen that was set up by Fabián Caballero, which earned his team a 1–0 victory. He finished the season with 32 appearances and two goals while Dundee were relegated to the Scottish First Division, and was released by the club in May 2001. ### Livingston Barrett had a trial with Major League Soccer team the New York/New Jersey MetroStars, and claimed he was offered a two-year contract, although this claim was denied by an organisation spokesman. He started a trial with League Two club Oxford United in August 2005 and in his first match was substituted after six minutes after sustaining a head injury. He resumed playing in the SPL after signing for Livingston on 9 September 2005, on a contract until January 2006, with the option of it being extended for a further three years, following a successful trial. He made his debut two days later in a 4–1 defeat to Hearts, during which he conceded a penalty kick. He made 11 appearances for Livingston, with his last coming in December 2005. Conference National club Exeter City handed him a one-week trial in September 2006, and after training with them for six weeks he was offered a contract until January 2007. ### Woking He eventually signed for another Conference National club, Woking, in January 2007 after being recommended to the club by former Dundee teammate Tom Hutchinson and he made his debut in a 2–0 victory over Altrincham on 20 January, in which he had a goal disallowed that was adjudged to be offside. Barrett missed some matches because of injury and finished 2006–07 with seven appearances for Woking, and manager Frank Gray wanted him to return to the club for pre-season training. ### Ebbsfleet United He signed for Woking's Conference Premier rivals Ebbsfleet United on a free transfer on 19 June 2007 as a replacement for Mark DeBolla. He made his debut in a 2–1 victory over Northwich Victoria on 11 August 2007. He sustained an ankle injury in the second match of 2007–08, which meant he was expected to be unable to play for six weeks, before he made a "surprise" return after four weeks in a 1–1 draw with Burton Albion. He scored his first goal with a shot from 20 yards, which was Ebbsfleet's first goal in a 4–1 victory over Grays Athletic. He went on to score goals in two consecutive matches, with strikes in victories over Burton and Weymouth. Barrett played for Ebbsfleet in the 2008 FA Trophy Final at Wembley Stadium on 10 May 2008, which the team won 1–0 against Torquay United. He finished the season with 44 appearances and three goals, after which he signed a new one-year contract with Ebbsfleet. He played for Ebbsfleet in their 3–2 defeat to Stevenage Borough in the semi-final first-leg of the FA Trophy on 14 March 2009, during which he sustained a broken jaw while scoring a goal, which ruled him out for the remainder of 2008–09. He finished the season with 37 appearances for Ebbsfleet, scoring seven goals. ### York City Barrett signed for Ebbsfleet's Conference Premier rivals York City on a free transfer on 29 June 2009. He made his debut in a 2–1 defeat to Oxford on 8 August 2009, before scoring his first goal for the club with the opener in a 1–1 draw with Luton Town on 20 October with a shot in the bottom corner. He scored the opening goal in a 3–1 defeat to Premier League team Stoke City in the FA Cup third round on 2 January 2010, with a header from an Alex Lawless free kick. He picked up a hamstring injury during March 2010, missing one match before making his return in a 1–0 victory over Mansfield Town later that month. He played in both legs of York's play-off semi-final victory over Luton, which finished 2–0 on aggregate. He signed a new one-year contract with York on 13 May 2010. He started in the 2010 Conference Premier play-off final at Wembley Stadium on 16 May, being substituted on 81 minutes, with York losing 3–1 to Oxford. He finished 2009–10 with 51 appearances and five goals for York. Barrett made his first appearance of 2010–11 in the second match, starting in a 0–0 draw away to Grimsby Town on 17 August 2010. He scored his first goal of the season with an effort from six yards out to score the final goal in a 4–0 victory away to Rushden & Diamonds on 20 November 2010. He finished the season with 25 appearances and two goals before being released on 23 June 2011 after being told he could find another club. ### Havant & Waterlooville Following his release by York, Barrett went on trial with Luton and played the first half of their first friendly of the 2011–12 pre-season, a 4–2 victory away to Hitchin Town. He subsequently went on trial with Kingstonian of the Isthmian League Premier Division and played in a friendly against former club Woking. His next move came on 9 September 2011, when he signed for Havant & Waterlooville of the Conference South on non-contract terms, making his debut the following day after starting in a 2–2 draw at home to Sutton United. He was released by Havant in October 2011 after making seven appearances for the club. ### Return to Ebbsfleet United Barrett returned to Conference Premier club Ebbsfleet United on 4 November 2011 on non-contract terms after contacting manager Liam Daish over the possibility of signing. His second debut for the club came the following day in a 1–0 away win over Newport County, and scored his first goal of 2011–12 came with a header in a 3–2 win away to Gateshead on 3 March 2012. Barrett made 28 appearances and score done goal as Ebbsfleet finished 14th in the Conference Premier, before signing a new one-year contract with the club in July 2012. He combined playing with being Ebbsfleet's commercial manager during 2011–12. Barrett missed only four matches for Ebbsfleet in 2012–13, making 45 appearances and scoring one goal, as the team were relegated to the Conference South after ranking 23rd in the Conference Premier table. ### Later career Barrett signed for Conference South club Basingstoke Town on 1 July 2013. His debut came in Basingstoke's 2–1 win away against Concord Rangers on 17 August 2013, before scoring his first goal for the club in a 2–0 home win over Eastleigh on 24 August. He made 28 appearances and scored four goals in 2013–14 as Basingstoke finished in 14th place in the Conference South table. He was released by the club in May 2014. Barrett joined Isthmian League Premier Division club Leatherhead during 2014–15 and made his debut as a 73rd-minute substitute in their 2–1 away defeat to Maidstone United on 9 December 2014. He made 11 appearances as they achieved a 10th-place finish in the Isthmian League Premier Division table. Barrett signed for Leatherhead's divisional rivals Metropolitan Police in September 2015, and made his debut in a 1–1 home draw with VCD Athletic on 19 September. He later worked as the club's commercial manager. ## Style of play Barrett played as a central midfielder and provided "plenty of drive in midfield". He described himself as being "one to get in the box" and having "a bit of a knack of being in the right place at the right time". He was described as being "not afraid of sticking his foot in". Ebbsfleet manager Liam Daish commented that "He will bring a physical presence to our midfield and is capable of getting his name on the score sheet." and while at the club was pivotal in midfield. ## Personal life Barrett was born in Tooting, Greater London. His wife Rebecca, whom he married in Leatherhead, Surrey on 29 May 2010, works as a flight attendant for Virgin Atlantic and he has a son called George. ## Career statistics ## Honours Ebbsfleet United - FA Trophy: 2007–08

U.S. Route 45 in Michigan

US Highway in Michigan

US Highway 45 (US 45) is a part of the United States Numbered Highway System that runs from Mobile, Alabama, to the Upper Peninsula (UP) of the state of Michigan. The highway forms a part of the state trunkline highway system that is maintained by the Michigan Department of Transportation (MDOT). It enters the state from Wisconsin south of Watersmeet, ending at an intersection with Ontonagon Street in Ontonagon. In between, the roadway crosses the UP running for approximately 54+3⁄4 miles (88.1 km) through the Ottawa National Forest and parallel to the Ontonagon River. The highway dates back to the 1930s in Michigan. At the time it was extended into the state, it replaced sections of M-26 and M-35. An eight-mile (13 km) segment was significantly reconstructed in the late 1950s, and an alignment change in the 1970s moved the routing of US 45 near Rockland before it was reversed soon afterwards. A segment of roadway that formerly carried US 45 is the site of the Paulding Light, a local phenomenon whose origins were scientifically described in 2010. ## Route description US 45 crosses from Wisconsin to Michigan near Land O' Lakes, Wisconsin, east of the Sylvania Wilderness area of the Ottawa National Forest. The highway angles northeast from the state line before curving around to the north toward Watersmeet, where it intersects US 2. Watersmeet is home to the northern section of the Lac Vieux Desert Indian Reservation. Continuing north across the Gogebic–Ontonagon county line, US 45 crosses the boundary between the Central and Eastern time zones. In southern Ontonagon County, the highway runs west of the Bond Falls Flowage near Paulding. North of here, the trunkline enters Bruce Crossing and intersects M-28. After leaving town, US 45 runs northward parallel to the Middle Branch of the Ontonagon River, and the highway crosses the river near a roadside park south of Rockland. East of Rockland, US 45 meets the southern terminus of M-26; after the intersection, US 45 turns northwesterly and runs parallel to the Ontonagon River and a snowmobile trail (a former branch of the Escanaba and Lake Superior Railroad). US 45 enters the south side of Ontonagon on Rockland Road near the Holy Family Cemetery. The roadway turns due north, still running parallel to the course of the river. South of downtown, the highway crosses an intersection that serves as the joint termini of M-38 and M-64. M-64 crosses the river from the west on a bridge built in 2006 and ends at the intersection. M-38 comes into town from the east and also ends at the same intersection. US 45 continues north on Rockland Road and turns northwest on River Street along the eastern river bank through downtown. The northern terminus of US 45 is at Ontonagon Street, about 1,000 feet (300 m) from Lake Superior. ## History US 45 debuted in Michigan by 1935 on maps of the time. The highway previously terminated in Des Plaines, Illinois, until it was extended northward to Michigan. US 45 replaced M-26 between the state line north toward Rockland, as well as M-35 between Rockland and Ontonagon. The Michigan State Highway Department (MSHD) rebuilt an eight-mile (13 km) section of the highway in the Military Hills area of eastern Ontonagon County starting in 1957. As part of the project, tons of waste copper rock were hauled into the area to provide a base for the reconstructed roadway, which was previously quite steep through the hills and muddy during rains. The project included a new bridge over the Ontonagon River that opened in late 1959. Along with this bridge, the last eight miles (13 km) of US 45 in the country were paved, connecting the Gulf of Mexico and Lake Superior with a hard-surfaced road. A rerouting in late 1971 moved the US 45 designation along M-26 between Rockland and Greenland. From Greenland, US 45 followed Ontonagon–Greenland Road to Ontonagon. In late 1973, MDOT reversed the rerouting—US 45 was restored to its previous routing on Rockland Road between Rockland and Ontonagon and M-26 was re-extended south from Greenland to Rockland; M-38 was extended west along Ontonagon–Greenland Road. In 2010, students from Michigan Technological University solved the mystery of the Paulding Light, a local phenomenon commonly attributed to paranormal activity. The phenomenon is viewable from a section of Robbins Pond Road, the former routing of US 45 in the Paulding area. According to area folklore, and indicated on signs in the viewing area, the light is from the ghost of a railroad brakeman. Other explanations say the light comes from a ghost train from the 19th century. The students' investigation showed that the light comes from headlights of cars on US 45 in the Paulding area. ## Major intersections ## See also

It's My Life (Cezar song)

2013 single by Cezar

"It's My Life" is a song recorded by Romanian singer Cezar, released as part of a CD single in 2013 through the Romanian Television (TVR). It was solely written and produced by Cristian Faur. Musically, the track has been described as an operatic pop and dubstep song, with the latter genre being predominantly present in the track's bridge. A love song, its instrumentation consists of electronic beats, while Cezar prominently uses his "feminine" falsetto register. Reviewers likened his vocal delivery to the works of Scottish singer Jimmy Somerville and Australian musician Nick Cave. "It's My Life" represented Romania in the 2013 Eurovision Song Contest in Malmö, Sweden after winning the pre-selection show Selecția Națională. The country reached 13th place in a field of 26, scoring a total of 65 points. Cezar's show featured him dressed in a black sequin cloak standing between fluorescent lighting tubes, while dancers who emerged from a red material placed under him performed interpretive dance. The performance was met with mixed reactions and often featured in publications' lists of Eurovision's most outstanding and peculiar performances. The track itself received similar reviews, with critics arguing over its catchiness, originality, composition and dance nature, as well as over Cezar's vocals. In order to promote and support "It's My Life", Cezar embarked on a tour in Belgium, Netherlands and the United Kingdom in 2013. An accompanying music video was filmed by Faur in several Romanian locations including the Mamaia resort, Cliceni aerodrome and A2 motorway, and was uploaded to the singer's official YouTube channel on 1 May 2013. TVR also broadcast the visual for the first time on the same date. It portrays Cezar parasailing, driving a Mercedes car and parachuting, as well as residing with model Sarah Ioana Mircea. The track was covered by Macedonian singer Tijana Dapčević and Romanian recording artist Florin Ristei during the Serbian and Romanian versions of interactive reality television franchise series Your Face Sounds Familiar respectively. ## Background and composition "It's My Life" was solely written and produced by Cristian Faur. It was released as a CD single through the Romanian Television (TVR) in 2013, containing a karaoke version alongside the original track. The accompanying cover artwork was photographed by Paula Buciuta, while the package was designed by Bristena de Satmaari. Musically, "It's My Life" has been described as an operatic pop and dubstep song, with the latter genre being pronounced during the track's bridge which uses a sample bought from service Vengeance Audio. Faur referred to the song as an "electro pop opera" number, while Eduard Fernández from El Mundo regarded its genre as "unclassifiable". "It's My Life" is a love song and its instrumentation consists of "angy" electronic beats taken from a "working men's club", as noted by The Times. An editor of the aforementioned publication compared Cezar's prominent use of his falsetto register during the song to Scottish singer Jimmy Somerville and Australian musician Nick Cave; another critic thought he sounded "feminine". ## Critical reception Upon its release, "It's My Life" was met with mixed reactions from music critics. An editor of Tribune Business News wrote that the song had one of the best refrains among Romania's Eurovision entries, while The Daily Edge ranked it fourth in their list of "14 best Eurovision songs in recent years". Fans of the recording include Welsh singer Bonnie Tyler. Reviewers from Wiwibloggs had both positive and negative opinions of "It's My Life", praising Cezar's vocal delivery, as well as the song's catchiness, originality and dance nature, but criticizing its "generic" lyrics, genre crossover, and naming it "excruciating to listen to". Overall, the reviewers on the website gave the song 5.71 out of 10 points. In a 2016 Wiwibloggs poll called "What is your favourite Eurovision song from Romania?", "It's My Life" finished in eighth place with over 300 votes. In a more negative review, Adam Postans of The People satirically called it a "potential sanitary towel advert anthem". Ryan Barrell of Huffington Post criticized the track's use of dubstep elements as "utterly ridiculous". ## Music video and promotion An accompanying music video for "It's My Life" was uploaded to Cezar's official YouTube channel on 1 May 2013, and was also exclusively premiered on the same date on TVR's Telejurnal segment. It was filmed by Cristian Faur in Romania at the Mamaia resort, Cliceni aerodrome, city Ploiești and on the A2 motorway. Production was handled by Artside, Cat Music and Radu Hantig, while director of photography Alexandru Prepeliţă and make-up artist Ruxandra Mihaia Caranfil were also hired. Magdalena Ciubotariu and Vlad Tofan were credited for screenplay and direction. The clip's "full of adrenaline" plot presents Cezar parasailing, driving a Mercedes SL350 and parachuting, as well as showing up with model Sarah Ioana Mircea. Regarding the music video, he explained that it was "designed as a 'statement' video, it implies a clear message: 'It's My Life – it's my life, I live it the way I feel!'" To further promote the song, Cezar embarked on a tour in Netherlands, the United Kingdom and Belgium. In 2017, Macedonian singer Tijana Dapčević sang "It's My Life" and impersonated Cezar on Tvoje lice zvuči poznato, the Serbian version of interactive reality television franchise series Your Face Sounds Familiar. On the Romanian version of the aforementioned series, Te cunosc de undeva!, Romanian recording artist Florin Ristei performed the song in 2014. ## At Eurovision ### National selection The Romanian Television (TVR) organized the Selecția Națională in order to select Romania's entrant for the 2013 Eurovision Song Contest and opened the submission period for artists' and composers' entries between 14 January and 6 February 2013. The event consisted of two semi-finals on 23 and 24 February respectively, and the final on 9 March 2013. Cezar qualified in second place from the first semi-final behind "Unique" by Luminița Anghel, after the votes of an expert jury panel (ten points) and the televoting (eight points) were combined, resulting in 18 points. Subsequently, "It's My Life" was chosen to represent in Romania in the contest by the same voting system, gathering 20 points in the final, which were composed of eight jury and 12 public points. ### In Malmö The Eurovision Song Contest 2013 took place at the Malmö Arena in Malmö, Sweden and consisted of two semi-finals on 14 and 16 May, and the final on 18 May 2013. According to the Eurovision rules, all participating countries, except the host country and the "Big Five" (France, Germany, Italy, Spain, and the United Kingdom), were required to qualify from one semi-final to compete for the final; the top ten countries from the respective semi-final progressed to the final. Cezar sang 17th in the second semi-final following Switzerland, while he performed 14th in the Grand Final following Netherlands and preceding the United Kingdom. Cezar's performance begins with him standing between red and blue fluorescent lighting tubes that are lowered to the stage by a rigging mechanism. He wears a long black sequin cloak and is placed on red material. Behind the singer, the LED screen displays lightning bolts, "emphasising the extreme passion within the song". The color red becomes more pronounced onstage as the show continues, and three semi-naked dancers emerge from the aforementioned material. They perform interpretive dance and wave pieces of the material in front of Cezar. Towards the end of the performance, the singer and the lighting tubes rise 15 ft above the stage, with Cezar singing to a female background dancer wrapped in red material that is now at the same height as him. Pyrotechnics are also used, including flames, fireworks and confetti "lighting up the arena in a big finale". The performance was received with mixed reviews from critics. An editor of The Times thought it was of a "hysterically camp nature" and likened Cezar's appearance to Flash Gordon character Ming the Merciless (1934). While comparing Cezar to Dracula, Geoff Tibballs, in his book The Good, the Bad and the Wurst: The 100 Craziest Moments from the Eurovision Song Contest, labelled the performance as "gloriously over-the-top". Several publications included Cezar's show in their lists of Eurovision's most outstanding and peculiar performances, including The Calvert Journal, The Irish Post, Cosmopolitan, SheKnows, The Reykjavík Grapevine, MTV UK, and the Huffington Post. #### Points awarded to Romania Below is a breakdown of points awarded to Romania in the second semi-final and Grand Final of the contest. On the first occasion, the country finished in fifth place with a total of 83 points, including ten from Malta, Iceland, Israel and Greece, eight from Azerbaijan, and seven from Germany. In the Grand Final of the Eurovision Song Contest, Romania finished in 13th position, gathering a total of 65 points, including ten awarded by Moldova and Greece, seven by Malta and six by Norway, Iceland and Azerbaijan. ## Track listing - Romanian CD single 1. "It's My Life" – 3:00 2. "It's My Life (Karaoke Version)" – 3:00 ## Release history

Battle of Yenidje

1912 battle of the First Balkan War

The Battle of Yenidje, also transliterated as Yenice (Greek: Μάχη των Γιαννιτσών, Battle of Giannitsa), was a major battle between Greek forces under Crown Prince Constantine and Ottoman forces under General Hasan Tahsin Pasha and took place between October 19–20 (O.S.), 1912 during the First Balkan War. The battle began when the Greek army attacked the Ottoman fortified position at Yenidje (now Giannitsa, Greece), which was the last line of defense for the city of Thessaloniki. The rough and swampy terrain surrounding Yenidje significantly complicated the advance of the Greek army, most notably its artillery. In the early morning of 20 October, an infantry charge by the Greek 9th Evzone Battalion caused the Greek army to gain momentum, leading to the collapse of the entire western wing of the Ottomans. Ottoman morale plunged and the bulk of the defenders began fleeing two hours later. The Greek victory at Yenidje opened the way for the capture of Thessaloniki and the surrender of its garrison, helping shape the modern map of Greece. ## Background During 1912, Greece, Serbia, Bulgaria, and Montenegro joined in a Balkan League against the Ottoman Empire. Fearing a new war in the Balkans, the Ottomans mobilized their armed forces on 14 September and began transferring units to Thrace; the Balkan League responded in kind. On 30 September, the League presented the Ottomans with a list of demands regarding the rights of its Christian population. The Ottoman Empire rebuffed the demands, recalled its ambassadors in Sofia, Belgrade and Athens and expelled the League's negotiators on 4 October. The League declared war against the Ottomans, while Montenegro had already began military operations on 25 September. The Greek Army of Thessaly crossed into Ottoman territory in the early morning hours of 5 October, finding most border posts to be abandoned. The first major clashes took place the following day when the 1st and 2nd Greek Divisions attacked Elassona, resulting in an Ottoman withdrawal towards Sarandaporo. At 7 a.m. on 9 October, the Greek infantry began its assault on Sarandaporo. The 1st, 2nd and 3rd Divisions attacked the Ottoman main line frontally. In the meantime, the cavalry brigade and the 4th and 5th Divisions conducted a flanking maneuver from the west with the intention of striking the rear of the Ottoman positions. The Konstantinopoulos Evzone detachment struck from the east of the pass. Fearing that they would be encircled by the Konstantinopoulos Evzone detachment, the Ottomans began to withdraw at 7 p.m., towards their second defensive line at Hani 739, under the cover of the night. Upon reaching their second defensive line, the Ottomans became aware of the 4th Division's seizure of Porta Pass, panic spread in their ranks and many soldiers began fleeing and abandoning their equipment. On the morning of 10 October, the 4th Division charged down the northern slope of the Rahovo Mountain, surprising the Ottoman infantry and artillerymen who engaged in a disorganized retreat. At 4 p.m. on 10 October, the 4th Division marched into Servia, while the Greek cavalry entered Kozani unopposed the following day. On 13 October, the Greek army transferred its general headquarters to Kozani; a day later King George I arrived in the city, ordering the army to march towards Thessaloniki and Veroia. The Ottomans fought a number of small scale delaying actions at Kolokouri, Tripotamos and Perdika, the Greek army nevertheless continued its advance taking Veroia and Katerini on 16 October. Between 17 and 18 October, the Greek general command forwarded its troops to the Veroia-Naousa plain. After their defeat at Sarandaporo, the Ottomans augmented the remnants of Hasan Tahsin Pasha's force with fresh reinforcements. Two divisions from east Macedonia, one reserve division from Asia Minor and one reserve division from Thessaloniki; bringing the total Ottoman forces in the area to 25,000 men and 36 artillery pieces. The Ottomans chose to organize their main defensive line at Yenidje either because of the town's religious importance for Macedonia's Muslim population or because they did not wish to fight too close to Thessaloniki. The Ottomans dug their trenches at a 130-meter (400 ft) high hill which overlooked the plain west of the town. The hill was surrounded by two rough streams, its southern approaches were covered by the swampy Giannitsa Lake while the slopes of Mount Paiko complicated any potential enveloping maneuver from the north. On the eastern approaches to Yenidje, the Ottomans reinforced the garrisons guarding the bridges across the Loudias River, the rail line at Platy and Gida. On 18 October, the Greek general command ordered its troops forward despite receiving conflicting intelligence reports regarding the disposition of the enemy troops. The 2nd and 3rd Greek Divisions marched along the same route towards Tsaousli and Tsekre respectively, both located north-east of Yenidje. The 1st Greek Division acted as the army's rearguard. The 4th Division headed towards Yenidje from the north-west, while the 6th Division circumvented the city further to west, intending to capture Nedir. The 7th Division and the cavalry brigade covered the right flank of the army by advancing towards Gida; while the Konstantinopoulos Evzone detachment was ordered to seize Trikala. ## Battle The first shots were fired in the early morning of 19 October, the advance guards of the 2nd and 3rd Greek Divisions pushed back the Ottomans at Burgas. Upon reaching the bridge across Balitzas river, the two divisions became the target of heavy shelling from the hills surrounding Yenidje. The 4th and 6th Divisions likewise halted their advance, after being repulsed by massed rifle fire. The Greek army command arrived at the battlefield at noon, in order to assess the situation and issue new orders. The 2nd and 3rd Divisions were to force their way across the bridge, conducting a frontal attack on the main body of the Ottoman forces behind it. The 4th and 6th Divisions conducted a flanking maneuver from the west, in the meantime the Konstantinopoulos Evzone detachment and the cavalry brigade rushed towards Loudias; thus creating two fronts on either side of the Giannitsa Lake. The Greek artillery's shelling was inaccurate since the ground was swampy and unstable. Only a single battery managed to establish itself at a distance of 4.5 kilometres (3 mi) from the Ottoman trenches. This caused the 2nd and 3rd Greek Divisions to significantly slow down their advance, however by nightfall, they managed to establish a large bridgehead across the Gramos river which flows into Giannitsa Lake from the north Contrary to the orders they had received the 7th Division and the cavalry brigade encamped at Gida upon reaching it, while the Konstantinopoulos Evzone detachment likewise failed to cross the Loudias after failing to locate a bridge. The 4th and 6th Greek Divisions progressed steadily on the western edge of the battlefield, crushing two counter-attacks and forcing the Ottomans to move their headquarters further back. At 8 a.m., 20 October, an infantry charge by the 9th Evzone Battalion of the 4th Greek Division captured an Ottoman battery. The 4th Greek Division used the momentum it had gained to push back the entire western wing of the Ottomans. The 2nd and 3rd Greek Divisions made headway against their opponents, reaching the edge of Yenidje and launching a bayonet attack on the Ottomans just as the 4th Greek Division arrived from the west. At 10 a.m., the Ottomans broke into a disorganized retreat, most fleeing towards Thessaloniki and Doiran. The latter were detained by a Serbian cavalry unit that was advancing towards the Axios valley. Crown Prince Constantine ordered a single regiment of the 2nd Greek Division to chase the retreating Ottomans along the road to Thessaloniki, but it proved to be too narrow for an effective pursuit. At the same time a force of 3,000 Ottomans struck the 7th Greek Division at Gida, as it lingered in the area. The Greeks held their ground and immediately went on the offensive, disobeying orders once again, they limited themselves to establishing a bridgehead at Kirtzalar instead of crossing the Axios. The Konstantinopoulos Evzone detachment managed to cross the Loudias by midday. However since the engineers of the 7th Division and the cavalry brigade failed to arrive on time, it was unable to reach the Axios and block its bridges; enabling many Ottomans to flee. ## Aftermath Greek casualties in the battle of Yenidje numbered 188 killed and 785 wounded. The Ottomans lost over 250 killed, over 1,000 wounded, 200 men captured, two flags lost, 11 to 14 field artillery pieces captured and other significant material losses. Following the capture of Yenidje, Crown Prince Constantine allowed the bulk of the Army of Thessaly to rest for three days after fifteen days of continuous fighting. Greek engineering units began repairing the bridges across the Axios that the Ottomans had previously destroyed. In the meantime, the 5th Greek Division continued its march towards Monastiri until it was ambushed and defeated outside Sorovich on 21 October. The Battle of Sorovich perplexed Constantine and made him hesitate just as the city of Thessaloniki seemed to be within his grasp. Citing Greek intelligence agents within the Bulgarian capital that the latter had taken Serres and were rapidly approaching Thessaloniki, a vexed Venizelos repeatedly urged Constantine and King George I to act. On 25 October, the Army of Thessaly finally crossed the Axios River, reaching the Tekeli–Bathylakkos–Gourdino line. On the same day, Constantine received a delegation consisting of the ambassadors of the Great Powers to Thessaloniki and Ottoman general Sefik Pasha. Tahsin Pasha offered to surrender the city without a fight and in return requested that Thessaloniki's garrison could retain its weapons and retreat to Karaburnu where it was to remain until the end of the war. Constantine rejected the Ottoman appeal, demanding a complete disarmament of the Ottomans and offering to transport them to an Asia Minor port of their choosing. At 5 a.m. on 26 October, a second Ottoman delegation appealed for 5,000 weapons to be retained during the transportation, Constantine responded by giving the Ottomans a two hour ultimatum to submit to his conditions. At 11 a.m., the 7th Greek Division crossed Gallikos river, the last aquatic barrier before the city. Around the same time, Tahsin Pasha decided to given in to the Greek demands, dispatching messengers to alert Constantine about his intentions; the latter received the news at 2 p.m. The 7th Greek Division and two Evzone battalions were immediately ordered to seize the city; while Constantine sent a message to the commander of the Bulgarian division closest to Thessaloniki advising him to divert towards a direction where his troops would be more useful. At 11 p.m., Tahsin Pasha signed a document of surrender in the presence of officers Viktor Dousmanis and Ioannis Metaxas. Under the terms of the treaty Greece captured 26,000 men and seized 70 artillery pieces, 30 machine guns, 70,000 rifles and large amounts of ammunition and other military equipment. Feigning ignorance of the fact that the Ottomans had already surrendered, the Bulgarian army continued to advance towards the city. Bulgarian general Georgi Todorov requested that the control of city be split between Bulgaria and Greece. Constantine refused, allowing only two Bulgarian battalions to rest within the city. The battle marked the capture of the city and its inclusion in the Greek state, helping shape the modern map of Greece. Nevertheless the Greek capture of Thessaloniki remained a significant point of tension with Bulgaria, ultimately contributing to the outbreak of the Second Balkan War. By May 1913, the numerically inferior Ottomans had suffered a series of serious defeats to the League's armies on all fronts. The League had captured most of the Ottoman Empire's European territories and was rapidly approaching Constantinople. On 30 May, the two sides signed the Treaty of London which granted the League's members all Ottoman lands west of Enos on the Aegean Sea and north of Midia on the Black Sea, as well as Crete. The fate of Albania and the Ottoman-held Aegean islands was to be determined by the Great Powers.

Basehead

American band

Basehead, also known as dc Basehead and Basehead 2.0, is an American alternative rock group formed by Michael Ivey in 1992. Ivey serves as the group's songwriter and leader, performing vocals and various instruments. Basehead's 1992 debut album, Play with Toys, was recorded at Ivey's home with various studio musicians. Ivey formed a touring band for live performances, which contributed to Basehead's second album, Not in Kansas Anymore. The group's current lineup consists of Ivey, drummer Aaron Burroughs and bassist Brendan Ciotta. Basehead has received praise for its distinctive sound and lyrics. The group's music incorporates elements of various genres, including blues, funk, hip hop and rock. The lyrics of Play with Toys and Not in Kansas Anymore focus on subjects such as alcohol and cannabis use, depression, philosophy, politics and relationships. Beginning with the 1996 release of Faith, the group's lyrics have focused primarily on Christian themes, which carried over to its albums In the Name of Jesus, dc Basehead and Rockalyptic Music. ## History Basehead released its debut album, Play with Toys, in 1992 on the small independent label Emigre. Vocalist Michael Ivey recorded much of the album at his home on a four-track with various friends. The album received favorable reviews and frequent airplay on college radio. Rolling Stone reviewer Kevin Powell wrote that "Without being preachy, Basehead's unconventional style challenges listeners to get beyond their basic instincts and open their minds, search their souls." Assembling a five-member touring band, Ivey toured the United States and Europe, opening for the Beastie Boys, Stone Temple Pilots, and Ween. After College Music Journal featured Basehead on its cover, the group received attention from major labels, and signed with Imago Records, a former subsidiary of BMG the following year, releasing its second studio album, Not in Kansas Anymore. Rolling Stone reviewer Danyel Smith called the album "an alternative to the benign bullshit music that floods the chain stores and commercial radio waves." Stephen Thomas Erlewine wrote that "Although it retains many of the same qualities of their critically acclaimed debut [...] there's nothing that has the same sense of discovery that made Play with Toys an interesting record." In April 1994, Basehead recorded its third studio album, Faith, which retained the musical elements of previous albums, but featured lyrics focusing on religious themes. During this period, Ivey also formed a side project, Bastard Youth of Basehead, also known as B.Y.O.B., and founded I3Records, an imprint of Rykodisc Records focusing on alternative music aimed at and produced by African American musicians. In December 1994, Imago separated from BMG, and Faith was not released until two years later. The album's release problems resulted in the cancellation of a planned tour between Basehead and B.Y.O.B. Although some band members felt that they had not been given proper financial compensation for their work, Ivey stated that he took a smaller percentage of the songwriting credits than he was legally entitled to, and that the group's underpaid work would have "laid the groundwork" for future success if Faith did not have release problems. In 1998, Basehead released its fourth studio album, In the Name of Jesus on the label Union of Vineyard Workers. In 2002 the group changed its name to dc Basehead, releasing their self-titled fifth album on November 19. Hamlin wrote that "the mastermind's [...] effective use of subtly shifting patterns inside a repeating framework, and his talented co-conspirators lift DC into distinction." Reforming as Basehead 2.0, the group released its sixth studio album, Rockalyptic Music in 2007. ## Music and lyrics Basehead's musical style, which fuses elements of blues, funk, hip hop, pop, psychedelic, reggae, rock and rhythm and blues, is categorized as "black rock", "alternative funk", "alternative dance", "progressive rap", alternative hip hop and alternative rock. David Jeffries from Allmusic described Play with Toys as "slacker rap". According to Michael Ivey, "There are hip-hop elements in there, but if a hardcore hip-hop fan bought it, they might be disappointed". Ivey also stated that Basehead's music "doesn't have the expected samples and sounds." The lyrical themes of Play with Toys and Not in Kansas Anymore focus on diverse subjects, including alcohol and marijuana use, depression, philosophy, politics, racism, and relationship breakups. Francis Davis wrote that Ivey's lyrics "[subvert] both rock and gangsta-rap conventions." Basehead's albums and performances feature live instrumentation, which differentiates the group's sound from that of mainstream hip hop artists who rely solely on sampled instrumentation. On the group's albums, vocals and instruments are altered with studio techniques for effect. Ivey's vocals mix singing and rapping. According to Ivey, Basehead's former DJ, Citizen Cope, "doesn't play music. He makes sounds—[he's] an instrument in his own self. He might scratch certain words for a special effect." In 1994, the group's lyrics shifted to Christian themes, starting with the album Faith. Andrew Hamlin describes the lyrics of Faith as having "caught Ivey mid-capitulation. He wanted Jesus in his life but he also wanted his beer, his pot, his television, and his lust." During the release of Faith, Ivey stated that Basehead's fourth studio album, In the Name of Jesus, would feature even more Christian-oriented lyrics than Faith. Regarding the lyrics of In the Name of Jesus, Hamlin writes that "chanting praises leaves the Basehead mastermind without his characteristic wit, and he lacks the energetic exhortations that often lift gospel performers above sameness in material." Regarding dc Basehead, Hamlin wrote that the album's lyrics were "miles in some direction or other from any stereotyped Christian rock bin." During a performance in which the group received a request for early material, Ivey stated "I'm still trying to work it out—how to follow God and still give you the old shit" and introduced the group's Christian songs with self-deprecation, referring to the songs as "the new, reborn, love-God Basehead stuff." In a 1998 interview, Ivey stated "I'm kind of wary of the Church. I know there's this whole Christian music market, but I don't think, theology-wise, I'm in agreement with a whole lot of Christians. [...] In fact, I don't know whether I like even being called a Christian." ## Pop culture Two Basehead songs, "Play with Toys" and "2000," were featured in the Union Wheels skateboarding video titled "Right to Skate", during the Alphonzo Rawls segment. ## Band members - Michael Ivey — guitar, vocals - Aaron Burroughs — drums - Brendan Ciotta — bass Former - Bill Conway — bass - Keith "Lazy K" Lofton — guitar - Clarence "Citizen Cope" Greenwood — turntables, bass - Brian Hendrix — drums - Jay Nichols — drums ## Discography - Play with Toys (1992) - Not in Kansas Anymore (1993) - Faith (1996) - In the Name of Jesus (1998) - dc Basehead (2002) - Rockalyptic Music (2007)

Albertine Lapensée

Canadian ice hockey player

Albertine Lapensée (August 10, 1898 – unknown) was a Canadian ice hockey player, often thought to be Canada's first female hockey "superstar". She played for the Cornwall Victorias (previously known as the Cornwall Nationals) between 1915 and 1918, when women's hockey enjoyed some prominence, as most of the healthy men were taking part in the First World War. Lapensée was reputed to have scored over 150 goals and led her team to be unbeaten throughout 1916 and 1917, when records indicate that they won 45 of their 46 games. However, after demanding a share of the profits from the games, Lapensée disappeared from the sport in 1918, still aged under 20. There were a number of rumours: that she had died in the 1918 flu pandemic, that she had travelled to New York to undergo a sex-change, or that she had always been a draft dodging man, though none provided any credible evidence. A 1940 profile of her father refuted all those claims, detailing her as living as a woman in New York. ## Early life and hockey career Albertine Lapensée was born on August 10, 1898, in Cornwall, Ontario, the youngest of eleven children born to Phillippe and Matilde. She grew up playing ice hockey outdoors on frozen ponds and rivers alongside her brothers and other boys. With the outbreak of the First World War, the exodus of men to the fighting resulted in the decline of amateur hockey leagues. This meant that hockey arenas were losing revenue, and to counter this, the owners of the Jubilee Arena in Montreal organised a four-team women's hockey league in 1915, the Eastern Ladies' Hockey League. Lapensée joined the Cornwall Nationals, quickly renamed the Cornwall Victorias, who joined the league a year later. On her debut in January 1916, she scored five goals in a 6–0 win for the Victorias, while a week later she scored six as her team won 8–0. In another game, she scored 15 goals, to help Cornwall to a 21–0 victory. Her exploits helped to promote the ladies' sport; the Jubilee Arena was selling out its 3,000 seats for games, while the Cornwall Victorias were being asked to sign contracts with other teams to play in their arenas – as long as Lapensée was playing. In the press, she was nicknamed the "Miracle Maid" by the English-language press, and "l'etoile des etoiles" ("the star of stars") by the French-language press. Such was her domination of the sport that there were persistent rumours that she was actually a man. These first surfaced immediately after her first match, when the members of the opposition Ottawa side accused her of being a man. The accusation was not unfounded in the league, where it was not uncommon for boys to be disguised as women to improve the spectacle. Some opposition teams went as far as removing Lapensée's tuque during games to check how long her hair was. Her father made a public statement that the claims were false, and in February 1916, the Montreal Star investigated the claims. The reporter spoke to "dozens and dozens of people from Cornwall who had known her since she was little", and concluded that "from what he learned he is thoroughly convinced 'he' is a 'she'." Despite this the rumours lingered, and some modern sources still speculate that she might have been a man. In 2011, an article in the Cornwall Standard Freeholder claimed that "we'll never know if Albertine was actually an Albert", suggesting the possibility that Lapensée was actually a draft dodger named Albert. Newspaper records suggest that between 1916 and 1917, the Cornwall Victorias went unbeaten for 46 games; winning 45 and tying 1. During that period, they outscored their opponents 228–29, of which Lapensée scored 150, averaging more than three goals per game. Lapensée's ability and strength led to some odd occurrences in games she was involved in. In one, the Montreal Westerns played a 17-year-old, Ada Lalonde, who was being touted as "a hockey prodigy" and a talent to rival Lapensée. Lalonde turned out to be a young man that Montreal's owner had convinced to take part to try and outshine Lapensée. In another game, the Westerners goaltender, a Miss Hardman, was so scared of Lapensée's powerful shot that she wore a baseball catcher's mask. Lapensée realised how much money the league was making for the arenas, and how significant her role was in her team's success, and she demanded a share of the profits. These claims, leaked to the press, led the Montreal Star to dub her a prima donna. The team owners refused, and Lapensée retired from the league in 1918. ## Later life After quitting the ELHL, which itself faded into obscurity and folded after the war, Lapensée disappeared from the limelight. A variety of rumours circulated; there were some reports that she had died during the 1918 flu pandemic. Although myth that she had undergone sex change surgery made it into a 1983 official history of Cornwall, the Library and Archives Canada's feature on women's hockey debunks it. The story follows that after her operation, she returned to the Cornwall area as a man, "Albert Smythe", ran a garage and got married. However, her mother's obituary in 1929 lists her as a living daughter, as does a 1940 profile of her father, which details she married a man named Albert Schmidt from New York. Further refuting the theory was the fact that sex reassignment operations did not take place until after the Second World War.

You Don't Know Jack (2011 video game)

2011 release of trivia-based party game series

You Don't Know Jack is a 2011 party video game developed by Jellyvision Games and published by THQ. It was Jellyvision's first entry in the You Don't Know Jack series after taking an eight-year hiatus. The game was released in North America on February 8, 2011, for Microsoft Windows, Nintendo DS, PlayStation 3, Wii and Xbox 360 platforms. The game took advantage of online connectivity and other features of modern gaming consoles. A single player iOS port was released about two months later, but was later pulled in anticipation of a more robust client based on the Facebook version of the game. The game is structured around a fictional game show emceed by Cookie Masterson (voiced by Tom Gottlieb), in which the players answer ten multiple-choice questions, and then compete in a final "Jack Attack" round. Answering quickly and correctly earns virtual money to track the players' scores, while incorrect answers are penalized. As per the game's motto, "the irreverent trivia party game", the questions often combine general knowledge with popular culture references and verbal wordplay to determine the correct answer. Unlike the earlier releases which randomly presented questions, the 2011 game provides more than 73 episodes (with the DS version only having the first 37) with a predefined set of questions, and with further episodes to be made available as DLC, only available on the Xbox 360 and PlayStation 3 through both consoles' respective online stores. The game, on consoles, supports both offline and online play (with the exception of the Wii which lacks online multiplayer) with up to four players, while the Microsoft Windows and Nintendo DS versions only support two local players and lack features such as online play and access to download various DLC Packs. You Don't Know Jack was generally well-received, seen as a humorous return to form for the series, though the lack of online play or additional content for the Windows version was criticized. ## Gameplay You Don't Know Jack is played out as a fictional trivia game show for one to four players (except for the Microsoft Windows and Nintendo DS versions which is for one or two players), with the goal to win the most virtual money at the end of the game. Each game uses a pre-defined set of ten questions from over seventy episodes, titled by the name of the show's fictional sponsor. Most questions are multiple choice, providing one correct and three incorrect answers, along with a 20-second timer that starts once the question has been completely presented. All players play at the same time, entering their choice of answer before the timer runs out. If a player is correct, they get a base dollar amount plus a bonus defined by how quickly they answered, while if they miss the question, they lose a similar amount of money. Failing to answer does not affect a player's score. Each player in multiplayer games is also given a single opportunity to "screw" another player, forcing them to answer the question in a much shorter time period. If the selected player answers incorrectly or fails to answer the question, they lose money which is gained by the player using the screw. However, if the selected player answers correctly, they gain additional money taken from the player using the screw. The game's trivia is based on general knowledge from several fields including science, history, and geography, combined with contemporary entertainment, celebrities, and other news items; the game, as well as the series, is often described as "high culture meets pop culture". For example, one question asks the players to identify which Jennifer Aniston film title would most likely have been suited for a hypothetical romantic comedy penned by Albert Einstein about the interactions between neutrons and electrons, the answer being "He's Just Not That Into You". In addition to the usual questions, each episode typically features a "DisOrDat" question. This question gives the players seven words or phrases which they have to identify as one of two possible classifications, or in some cases, both. For example, one DisOrDat series asks the players to identify terms that would be features of a Nexus One phone, Nexxus shampoo, or both. In offline play, only one player plays, while other players try to steal money by getting the answer right if the main player gets it wrong. In online play, all players play the DisOrDat simultaneously. Players are also urged to look for the "Wrong Answer of the Game", which is hinted at by the show's sponsor; for example, in an episode sponsored by a baby crib company, the answer "Cat's Cradle" is the Wrong Answer of the Game. Choosing the correct Wrong Answer does not penalize the player but instead rewards them with a large monetary bonus. Other questions are presented in the standard multiple choice format but use recurring concepts, such as questions based on a fortune cookie message, ones about a dream Cookie had based on a movie, or ones read through Cookie's ventriloquist dummy incorporating a speech impediment that may make the question harder to understand. After ten questions are completed, the final round of the game is always the "Jack Attack" where all players compete against each other. Prior to the round, a brief clue is shown to the players to describe a relationship that they must match, for example "BFF" (Best friends forever). The game then shows one word or phrase, and then cycles through other phrases which the players must match. If players respond to the wrong phrase, they lose money; only the first player to buzz in at the correct time wins and earns money. After seven such phrases, the total scores are added and the winner is determined. ## Development You Don't Know Jack was developed by Chicago-based company Jellyvision. The You Don't Know Jack (YDKJ) series, though popular in the 1990s during the rise of gaming on personal computers, had not had an official full release since 1998 with You Don't Know Jack: The Ride. Though Jellyvision offered some web-based You Don't Know Jack games in the interim years, the developers left the gaming market after seeing the rise of home gaming consoles in the early 2000s. Though they had considered adapting the game for consoles, and had produced two titles for the original PlayStation, they could only realize You Don't Know Jack games with players at the same keyboard for input. During this time, Jellyvision reinvented itself as Jellyvision Labs, offering its services in business-to-business communication including for tax software from H&R Block and interviews for Equifax. Around 2008, the company saw that gaming consoles had developed features for connectivity and social play. They also recognized that the market for such trivia games was slim at the time and saw a possible opportunity to revitalize the series. Near this time, Jellyvision Labs was spun out to its own company, Jellyvision Games, LLC, which would later be reincorporated in 2011 as Jellyvision Games, Inc. Harry Gottlieb, the founder of Jellyvision, recognized that many of the same people that worked on the original games were still in the company, and proposed the idea of a new You Don't Know Jack title to publishers. After securing THQ as a publisher, full-time development for the game started in February 2010. Steve Heinrich, the game's producer, said the development process was "insanely quick", allowing them to work concurrently on writing, art, sound, and programming, and had the flexibility to make design decisions to keep the game simple and funny. However, the question writing staff found some of the deadlines to be too short, preventing them from doing extensive audience feedback. Jellyvision Games did not want to change much of the older games for the 2011 version. They sought to keep as many of the old game question types, such as the Jack Attack and Dis Or Dat questions, updating the games to support online play. To counterbalance other types that would not be playable on consoles, such as Gibberish Questions that required players to type in a phrase, the developers added new features to the game, such as the Wrong Answer of the Game. The developers took advantage of other features of the newer consoles: they were able to use rumble features of console controllers to emphasize the effect of Screwing other players, and wrote several humorous titles for the in-game achievements. Allard Laban of Jellyvision Games noted that compared to 1995, where the pop culture was "fragmented", the onset of the Internet and social media made it easier to develop questions for the game. At the same time, with more information and entertainment available, the writers had to be selective about what parts of culture would remain relevant; an example given by Heinrich was that while questions about Seinfeld were okay, questions about Mad About You were not. Jellyvision Games sought comedy writers, including from local comedy clubs such as Second City and I.O., narrowing down the pool of applicants from hundreds to six, including Second City comedian Tim Sniffen, who had worked on previous iterations of the You Don't Know Jack series. A weekly training process was employed to bring the new writers up to speed and review previously written dialog for possible improvements. Heinrich also assured that material was not repeated throughout the game's script. Heinrich estimates that each question in the game was a result of about two hours of work. The majority of the game's dialogue is provided by Harry Gottlieb's brother Tom, who had voiced the emcee "Cookie" Masterson in the earlier games, and had been considered one of the more popular emcees by players. Lacking any professional studio, most of the 100-200 hrs of game dialog were recorded in a makeshift soundproofed closet. Tom Gottlieb was also involved in the writing process, as Jellyvision Games credits much of the "Cookie" persona to his own performance of the character. Other sound effects include fake commercials that are heard before and after a game; some of these include commercials used in previous iterations of the You Don't Know Jack series. Prior to each questions, the game includes short musical interstitials with animated numbers to introduce the question via its number. These were designed as to get the music for these stuck in the players' heads as something they would remember throughout the day; to avoid making these become too routine, certain episodes featured variations on the interstitial that would be unexpected, keeping players on their toes throughout playing the game. The game was released in North America on February 8, 2011. Jellyvision Games has stated they considered further international releases, but these would be too expensive at the present time. The company does not rule out future iterations of the game being released to a wider market based on the success of this title. An initial version of this version of You Don't Know Jack was released for iOS systems in April 2011. It featured twenty 10-question episodes, but was limited to a single-player mode. Jellyvision Games later pulled the application, in anticipation of release of a more robust client for both iOS and Android that will mimic the Facebook application, featuring cross-platform multiplayer between iOS, Android, and Facebook versions, and downloadable episodes from the Facebook game. ## Reception You Don't Know Jack was positively received by critics who were delighted not only with a new entry in the series, but one that kept the same humor and wit as the earlier games. Seth Schiesel of The New York Times praised the "triumphant, hilarious and even enlightening return" of the series, citing the creativity of the writing and voice work. John Teti of The A.V. Club called the title an "astonishingly good game", and was impressed that the writing of the game was as witty as the previous games in the series despite the years of dormancy. Though Teti lamented the lack of keyboard-based questions, he praised the new question types and gameplay as the overall change "minimizes blowouts and keeps the pace brisk". Greg Miller of IGN considered the game a great value, attributing it to the game's "great sense of humor, clever rounds and enough questions to keep you busy for a while". Kevin Kelly of G4 TV praised the voice work, particularly that for "Cookie", as "Without Cookie, this game would quickly be just another forgettable trivia game". Jeff Cork of Game Informer considered the game "proof that games don’t need to be excessively complex in order to be fun", complimenting the "top-notch" writing. Chris Watters of GameSpot commented that the structure of each episode can become repetitive, and that commonly the Jack Attack round would decide the winner of the game, negating the previous questions, but still considered the "large amount of legitimately clever and surprisingly funny writing" a key aspect of making You Don't Know Jack as "one of the most entertaining trivia games on the market". GamePro's Nathan Grayson was more critical of the game's lack of features, considering the number of questions "painfully short" compared to the Buzz! trivia game series, the "absolute bare-bones basics" presentation, and the game's somewhat juvenile sense of humor. Though the Toronto Sun's Steve Tilley generally praised the game's humor, he noted the lack of variety of gameplay modes, and that playing with people online may be spoiled by those that had already run through all the game's episodes. Both the Microsoft Windows and Nintendo DS versions were criticized for limiting the number of players to two. The Windows version was particularly criticized as it did not allow for online play, a feature available on the Xbox 360 and PlayStation 3 releases, nor would receive the downloadable content for the game. The lack of multiplayer in the pulled iOS version was lamented though the other facets of the game's humor remained.

Mass Effect 2: Kasumi – Stolen Memory

2010 downloadable content

Mass Effect 2: Kasumi – Stolen Memory is a downloadable content pack developed by BioWare and published by Electronic Arts for the 2010 action role-playing video game Mass Effect 2. It was released for Microsoft Windows and Xbox 360 in 2010, and is included in the PlayStation 3 version of Mass Effect 2, which was released in 2011. Set within the Milky Way galaxy during the 22nd century, Stolen Memory follows thief Kasumi Goto and her efforts to steal a graybox that contains memories of her partner. Stolen Memory was announced at the 2010 Game Developers Conference and is the first major downloadable content pack for Mass Effect 2 that does not require the game's Cerberus Network, an online downloadable content and news service that enables free bonus content for the game. Its soundtrack was composed by Sonic Mayhem duo Sascha Dikiciyan and Cris Velasco. The pack received mixed reviews from critics, who criticized its short length but nevertheless highlighted its enjoyable gameplay. In 2021, Stolen Memory was remastered as part of the Mass Effect Legendary Edition. ## Gameplay Mass Effect 2: Kasumi – Stolen Memory is a downloadable content pack for the 2010 action role-playing video game Mass Effect 2. Set within the Milky Way galaxy during the 22nd century, it follows thief Kasumi Goto and her efforts to steal a graybox that contains memories of her partner Keiji Okuda, who was killed by a weapons dealer after he acquired sensitive information. The player assumes the role of Commander Shepard, an elite human soldier who recruits and helps Goto in her quest. Ultimately, the pair accesses the graybox and sees a hologram of Okuda, who reveals the data and says that it would impact humanity's reputation if made public. He then begs Goto to destroy the data along with his memories. Shepard can persuade her to follow Keiji's wishes or keep the data. Stolen Memory is split into two acts that take place in a rich mansion. The first act involves the player interacting with the environment and non-player characters to find a way to get access to the graybox. In contrast, the second act is more action-oriented and involves the player fighting a large number of enemies, culminating with a boss fight at the end. During the second act, the player is assisted by Goto, who is controlled by the game's artificial intelligence. She has the ability to cloak and deliver a sneak attack. After completing Stolen Memory, Goto gains the Flashbang Grenade ability, which can be used to incapacitate targets. As a squad member, Goto and her abilities can be used in the main game. Stolen Memory also includes a new weapon, an in-game upgrade that the player can research to enhance abilities, and an achievement. ## Development and release Stolen Memory was developed by BioWare and published by Electronic Arts. During development of Mass Effect 2, Bioware stated that downloadable content was becoming a fundamental part of the company's overall philosophy. The pack was announced at the Game Developers Conference on March 11, 2010. BioWare remarked that Stolen Memory would have a feel similar to a James Bond mission. The mansion where the events of Stolen Memory take place was originally suggested to take place on a colony of the in-game alien race Asari, before a human planet was chosen. It was conceived as "a house in the Hollywood Hills, but with more advanced, Mass Effect-era architecture." The outfit of Goto was designed to reflect that of a medieval thief. The soundtrack was composed by Sonic Mayhem duo Sascha Dikiciyan and Cris Velasco. Stolen Memory was released on April 6, 2010, for Microsoft Windows and Xbox 360. It is the first major downloadable content pack for Mass Effect 2 that does not require the game's Cerberus Network, an online downloadable content and news service that enables free bonus content for the main game. At the release day, the pack was unavailable for download for a brief period of time due to Xbox Live server issues. Like Mass Effect 2's other downloadable content packs Overlord and Lair of the Shadow Broker, Stolen Memory is freely included in the PlayStation 3 version of the game, which was released on January 18, 2011. In 2021, the pack was remastered as part of the Mass Effect Legendary Edition. ## Reception Stolen Memory received generally mixed reviews, with most critics criticizing its short length. IGN reviewer Erik Brudvig opined that Stolen Memory "is a great little quest, but for most the 'little' part will be a sticking point. At roughly an hour in length, this is one download that doesn't offer a lot of bang for your buck." Writing for GameSpot, Kevin VanOrd felt that Goto is not interesting and that her mission is too short for her character development compared to the squad members of the base game. Similarly, GameCritics reviewer Brad Gallaway criticized the fact that the player cannot directly interact with her once Stolen Memory has been completed. In a more positive review, Dan Whitehead of Eurogamer stated that Stolen Memory "does a good job of justifying itself through enjoyable gameplay and clever storytelling. Short, yes, but also surprisingly sweet." He also highlighted positively the story and opined that the ending adds a darker tone to Goto's "flirtatious character", stating that "the obligatory moral choice at the end is dictated by intimate emotional considerations rather than battlefield pragmatism." Eduardo Reboucas of GameRevolution criticized the fact that the story does not fit in a post-story scenario, stating that Stolen Memory "is intended to be played as you're making your way through the storyline of the main game and not in the aftermath." GameCritics praised the first act, comparing it favorably to the 2001 film Ocean's Eleven and stating that it was "an unusual and welcome change of pace." VanOrd credited the fact that the player can gain access to the graybox in two different ways, but felt that breaking into its vault was "paced slowly without offering any sense of increasing tension or extended dialogue options to compensate." Nevertheless, he praised Goto's ability to silently backstab enemies and the combat scenarios for their enemy variety. The final boss battle was said to be predictable but enjoyable and satisfying. VanOrd concluded that Stolen Memory "is still worth a look, but it won't leave you with any lasting memories of your own."

Kepler triangle

Right triangle related to the golden ratio

A Kepler triangle is a special right triangle with edge lengths in geometric progression. The ratio of the progression is $\sqrt\varphi$ where $\varphi=(1+\sqrt{5})/2$ is the golden ratio, and the progression can be written: $1 : \sqrt\varphi : \varphi$, or approximately $1 : 1.272 : 1.618$. Squares on the edges of this triangle have areas in another geometric progression, $1:\varphi:\varphi^2$. Alternative definitions of the same triangle characterize it in terms of the three Pythagorean means of two numbers, or via the inradius of isosceles triangles. This triangle is named after Johannes Kepler, but can be found in earlier sources. Although some sources claim that ancient Egyptian pyramids had proportions based on a Kepler triangle, most scholars believe that the golden ratio was not known to Egyptian mathematics and architecture. ## History The Kepler triangle is named after the German mathematician and astronomer Johannes Kepler (1571–1630), who wrote about this shape in a 1597 letter. Two concepts that can be used to analyze this triangle, the Pythagorean theorem and the golden ratio, were both of interest to Kepler, as he wrote elsewhere: > Geometry has two great treasures: one is the theorem of Pythagoras, the other the division of a line into extreme and mean ratio. The first we may compare to a mass of gold, the second we may call a precious jewel. However, Kepler was not the first to describe this triangle. Kepler himself credited it to "a music professor named Magirus". The same triangle appears earlier in a book of Arabic mathematics, the Liber mensurationum of Abû Bekr, known from a 12th-century translation by Gerard of Cremona into Latin, and in the Practica geometriae [it] of Fibonacci (published in 1220–1221), who defined it in a similar way to Kepler. A little earlier than Kepler, Pedro Nunes wrote about it in 1567, and it is "likely to have been widespread in late medieval and Renaissance manuscript traditions". It has also been independently rediscovered several times, later than Kepler. According to some authors, a "golden pyramid" with a doubled Kepler triangle as its cross-section accurately describes the design of Egyptian pyramids such as the Great Pyramid of Giza; one source of this theory is a 19th-century misreading of Herodotus by pyramidologist John Taylor. Many other theories of proportion have been proposed for the same pyramid, unrelated to the Kepler triangle. Because these different theories are very similar in the numeric values they obtain, and because of inaccuracies in measurement, in part caused by the destruction of the outer surface of the pyramid, such theories are difficult to resolve based purely on physical evidence. The match in proportions to the Kepler triangle may well be a numerical coincidence: according to scholars who have investigated this relationship, the ancient Egyptians most likely did not know about or use the golden ratio in their mathematics or architecture. Instead, the proportions of the pyramid can be adequately explained using integer ratios, based on a right triangle with sides 11 and 14. The name "Kepler triangle" for this shape was used by Roger Herz-Fischler, based on Kepler's 1597 letter, as early as 1979. Another name for the same triangle, used by Matila Ghyka in his 1946 book on the golden ratio, The Geometry of Art and Life, is the "triangle of Price", after pyramidologist W. A. Price. ## Definitions The Kepler triangle is uniquely defined by the properties of being a right triangle and of having its side lengths in geometric progression, or equivalently having the squares on its sides in geometric progression. The ratio of the progression of side lengths is $\sqrt\varphi$, where $\varphi=(1+\sqrt{5})/2$ is the golden ratio, and the progression can be written: $1 : \sqrt\varphi : \varphi$, or approximately 1 : 1.272 : 1.618. Squares on the edges of this triangle have areas in another geometric progression, $1:\varphi:\varphi^2$. The fact that the triangle with these proportions is a right triangle follows from the fact that, for squared edge lengths with these proportions, the defining polynomial of the golden ratio is the same as the formula given by the Pythagorean theorem for the squared edge lengths of a right triangle: $\varphi^2 = \varphi + 1.$ Because this equation is true for the golden ratio, these three lengths obey the Pythagorean theorem, and form a right triangle. Conversely, in any right triangle whose squared edge lengths are in geometric progression with any ratio $\rho$, the Pythagorean theorem implies that this ratio obeys the identity $\rho^2=\rho+1$. Therefore, the ratio must be the unique positive solution to this equation, the golden ratio, and the triangle must be a Kepler triangle. The three edge lengths $1$, $\sqrt\varphi$ and $\varphi$ are the harmonic mean, geometric mean, and arithmetic mean, respectively, of the two numbers $\varphi\pm1$. These three ways of combining two numbers were all studied in ancient Greek mathematics, and are called the Pythagorean means. Conversely, this can be taken as an alternative definition of the Kepler triangle: it is a right triangle whose edge lengths are the three Pythagorean means of some two numbers. The only triangles for which this is true are the Kepler triangles. A third, equivalent way of defining this triangle comes from a problem of maximizing the inradius of isosceles triangles. Among all isosceles triangles with a fixed choice of the length of the two equal sides but with a variable base length, the one with the largest inradius is formed from two copies of the Kepler triangle, reflected across their longer sides from each other. Therefore, the Kepler triangle can be defined as the right triangle that, among all right triangles with the same hypotenuse, forms with its reflection the isosceles triangle of maximum inradius. The same reflection also forms an isosceles triangle that, for a given perimeter, contains the largest possible semicircle. ## Properties If the short side of a Kepler triangle has length $s$, the other sides will have lengths $s\sqrt\varphi$ and $s\varphi$. The area can be calculated by the standard formula for the area of right triangles (half the product of the two short sides) as $\tfrac{s^2}{2}\sqrt\varphi$. The cosine of the larger of the two non-right angles is the ratio of the adjacent side (the shorter of the two sides) to the hypotenuse, $\varphi$, from which it follows that the two non-right angles are $\theta=\sin^{-1}\frac{1}{\varphi}\approx 38.1727^\circ$ and $\theta=\cos^{-1}\frac{1}{\varphi}\approx 51.8273^\circ.$ Jerzy Kocik has observed that the larger of these two angles is also the angle formed by the centers of triples of consecutive circles in Coxeter's loxodromic sequence of tangent circles. ## See also - Automedian triangle, a triangle whose squared side lengths form an arithmetic progression, including the right triangle with side lengths $1:\sqrt2:\sqrt3$ - Golden triangle, an isosceles triangle whose ratio of base to side length is the golden ratio.

Clarence Lightner

American politician

Clarence Everett Lightner (August 15, 1921 – July 8, 2002) was an American politician and mortician. A member of the Democratic Party, he served as Mayor of Raleigh, North Carolina from 1973 to 1975. He was the first popularly elected Mayor of Raleigh since 1947, and the first African American elected mayor of a mostly-white, major Southern city in the United States. Lightner was born in 1921 in Raleigh. He attended North Carolina Central College, where he played as a quarterback on the school football team. After graduating, he enlisted in the United States Army and served on a tour of duty during World War II. He subsequently enrolled in the Echols College of Mortuary Science, and in 1959 he assumed control of his father Calvin E. Lightner's funeral home. He was elected to the Raleigh City Council in 1967. During his council tenure he chaired a committee tasked with studying mass transit and for one term acted as Mayor pro tempore. In 1973 he launched his candidacy for the office of Mayor. Backed by a coalition of blacks—who comprised less than 16% of all registered voters—and white suburban residents who were growing increasingly concerned about urban sprawl, Lightner won the November election, surprising observers and garnering national media attention. During his mayoral tenure the city council bolstered floodplain construction regulations, rejected large road construction projects, and instituted a mass transit system. Though Lighter's service was largely uncontroversial, members of his family were mired by legal troubles. His reputation suffered as a result, and he placed last in the mayoral primary election in 1975. In 1977 he was appointed to fill the vacant North Carolina State Senate seat for the 14th district, serving through 1978. He chaired the Southeast Raleigh Improvement Commission from 1993 to 2001. Lightner died in 2002. ## Early life Clarence Everett Lightner was born on August 15, 1921, in Raleigh, North Carolina, to Mammie Blackmon and Calvin E. Lightner. He was the youngest of four children. Calvin Lightner founded the Lightner Funeral Home in 1911 and made an unsuccessful bid for a seat on the Raleigh City Council in 1919. Though the city was racially segregated at the time, Clarence—who was black—was raised at the edge of a white neighborhood and frequently played sports with white children in his youth. He attended public schools in Raleigh, and spent much of his free time in high school assisting his father in the funeral home. In his younger years he also worked at Chavis Park, a recreational area in Raleigh for black people. In 1938 Lightner enrolled in North Carolina Central College. While there, Lightner played on the football team as a quarterback and joined the Omega Psi Phi fraternity. He graduated in 1941. In 1942 he enlisted in the United States Army, serving for a total of four years, including a tour of duty during World War II. He subsequently enrolled in the Echols College of Mortuary Science in Philadelphia, Pennsylvania. Lightner aspired to become a physician and did not intend on assuming control over his father's business. However, in 1959, following his brother's death, his father gave him charge of the funeral home. Lightner later served as president of the National Funeral Directors and Morticians Association and chaired the National Life Membership Foundation of Omega Psi Phi Fraternity. He was a member of the National Business League and worked as an official for the Central Intercollegiate Athletic Association. Lightner met Marguerite Massey while studying at North Carolina Central College. They married in 1946, and had two sons and two daughters: Bruce, Lawrence, Debra and Claire. Lightner was a parishioner at Davie Street Presbyterian Church, and served on its Men's Council. ## Political career ### Activism and city council tenure Lightner was a member of the National Association for the Advancement of Colored People, and the Democratic Party, and held moderate political views. He was a member of the "Oval Table Gang", an informal group of community leaders that met in Ralph Campbell Sr.'s home to discuss strategies to desegregate Raleigh schools, plan demonstrations, and assist black candidates for public office. He was elected to the Raleigh City Council in 1967, thus becoming the second black person to serve on the body. As he became increasingly involved in politics, Lightner handed over the responsibilities of his funeral home to a manager. During his council tenure he served on the Law and Finance Committee and chaired a committee tasked with studying mass transit. He supported a proposal by community activists to change the election method of city council seats from an at-large model to a district system; it was later implemented after a referendum. In his third term (1971–1973) he served as Mayor pro tempore. ### Mayor of Raleigh In 1973 Lightner announced his candidacy for the office of Mayor of Raleigh. The 1973 election was the first contest in which the mayor was to be directly elected, instead of being selected by the city council. The change had been made via referendum the previous year at the behest of community organizations, collectively dubbed the "Community Coalition". They felt that municipal offices were being too heavily influenced by business interests at a time when Raleigh's population was rapidly growing and various development projects were being proposed. In the election Lightner faced G. Wesley Williams, the executive director of the Raleigh Merchants Bureau who was popular among local businessmen. He characterized Williams as a lobbyist for Raleigh's business interests. Though Lightner was a black candidate in a Southern city, the topic of race did not play a significant role in the campaign. He received the endorsement of the retiring mayor, Thomas W. Bradshaw, and Raleigh's two daily newspapers, the Raleigh Times and The News & Observer. Though he trailed his opponent in the primary contest by 700 votes, Lightner won the November 6 election with 17,348 votes, or 52.9 percent of the ballots, cast in his favor. His support came from a coalition of blacks—who comprised less than 16% of all registered voters—and white suburban residents who were growing increasingly concerned about urban sprawl. His victory was given national media attention, as he was the first black mayor of a large, mostly-white city in the South. Most observers were surprised by his win. Lightner acted as a charter member of the Southern Conference of Black Mayors. He also actively participated in the National League of Cities—including service on its steering committee—and made personal connections with members of the federal administration and other black mayors. In 1974 he devised the Downtown Housing Improvement Corporation to "help people with low incomes find housing." That year he also supported the creation of 18 neighborhood "Citizen Advisory Councils", which were meant to facilitate resident input on housing, transportation, and governmental accountability in the city. Lightner hoped that instituting the councils would also make it easier for Raleigh to earn block grants from the federal government, but this did not occur. During his mayoral tenure the city council bolstered floodplain construction regulations, rejected large road construction projects, and instituted a mass transit system. Raleigh was also bestowed with the All-America City Award during his term, with the awarding organization, the National Civic League, citing in-part the institution of the Citizen Advisory Councils. In November 1974 he supported an unsuccessful attempt to create a police review board, citing mistrust of police impartiality by "a great segment of the population". Though his tenure was largely uncontroversial, members of Lightner's family were befallen by legal troubles. In November 1974 police arrested a woman in Pittsboro for shoplifting. Investigators found she had a notebook with the names and clothing sizes of several North Carolinians, including Clarence and Marguerite Lightner. Police theorized that the woman had been stealing items on order. On November 26, 1974, Marguerite Lightner was arrested for conspiracy to receive stolen goods; prosecutors announced they had no intentions of charging the mayor. Lightner was criticized for refusing to comment publicly on the case. Marguerite Lightner's defense attorney suggested during her trial that the prosecutor had pursued charges against her because she was the mayor's wife. She was ultimately acquitted, but in July 1975 Lightner's son, Lawrence, was found in contempt of court after allegedly making obscene gestures to a judge (Lawrence was in court to face assault charges which were later withdrawn). Announcing his bid for reelection the following month, Lightner appealed to the electorate to ignore his relatives' problems and evaluate his performance as mayor. Scrutiny was brought against him personally for urging the city to purchase a pool from his former campaign manager, and for his backing of a planning commissioner that had run afoul of local activists for maintaining close ties with real estate developers. In early October his daughter, Debra, was indicted for credit card fraud. The mayoral primary election took place the following week. Lightner faced two challengers for his position. Though they avoided discussing the Lightner family's problems, the legal troubles damaged Lightner's reputation. Jyles Coggins won the primary, and Lightner placed last with only 5,644 votes. He urged the black electorate to unify behind Coggins, and his term ended in December. ### Later activities In 1977 State Senator John W. Winters of the 14th district (representing portions of Wake, Lee and Harnett counties) resigned. Governor Jim Hunt, at the advice of the Executive Committee of the Democratic Party of the 14th district, appointed Lightner to fill the vacancy on August 3. He was sworn in on August 9 and served the remainder of Winters' term through 1978. Over the course of his term he cosponsored 10 bills. In 1979 he chaired the North Carolina Black Caucus. Three years later Lightner served as general chairman of the Raleigh chapter of the United Negro College Fund. In November 1983 Walter Mondale appointed him to the steering committee of the North Carolina branch of his 1984 presidential campaign. Lightner eventually rose to serve as co-chairman of the state section of the campaign. In 1986 Lightner served as co-chair of Terry Sanford's U.S. Senate campaign. After Lightner pointed out the state of limited economic growth in southeast Raleigh, the city assembled a team under Mayor Avery C. Upchurch to promote commercial development in the area. He served as chairman of the Southeast Raleigh Improvement Commission from 1993 to 2001, where he led a study of economic development, implemented the Small Business Success Program, and created an incubation program for small businesses. He acted as chair of the Board of Trustees of Saint Augustine's College and was a member of the Board of Trustees of North Carolina State University for 10 years. Lightner attended the 1972, 1976, 1980, 1984, 1988, 1992, 1996 and 2000 Democratic National Conventions as a delegate. He retired from the funeral business in 2000. ## Death and burial Lightner died at about 11:30 on July 8, 2002, at WakeMed Hospital in Raleigh after suffering from a long illness. A funeral was held at Davie Street Presbyterian Church and he was subsequently buried in Mt. Hope Cemetery in Raleigh. In April 2011 a large storm passed through Raleigh and damaged Lightner's tombstone. ## Honors and legacy In May 1974 Lightner awarded an honorary doctoral degree from North Carolina Central University (formerly College). He also was granted honorary doctoral degrees from Shaw University and Saint Augustine's College. He was inducted into the Central Intercollegiate Athletic Association Hall of Fame and North Carolina Central University's Alex M. Rivera Athletics Hall of Fame in recognition of his football career. After Lightner died, Mayor Charles Meeker of Raleigh said he was, "one of Raleigh's foremost political and civic trailblazers, combining integrity, a gentle spirit and an indomitable will to make the world a better place for all people." In 2004 the Clarence E. Lightner Youth Foundation was created to teach local students the importance of civic participation. Lightner's name was added to the list of local activists honored on the Martin Luther King Water Monument, located in the Martin Luther King Jr. Memorial Gardens in Raleigh. The garden was designed by Lightner's son, Bruce. In 2003, the North Carolina General Assembly passed a joint resolution honoring Lightner's life and achievements. That year a committee was formed in Raleigh to decide on a public space to name after Lightner. After some deliberation, it resolved to affix Lighter's name to a new public safety center to be built in the downtown. In 2010 over 250 people, led by a police detective, lobbied in an attempt to have the center named after a public safety worker instead of "a politician". After being accused of urging the change with racist motivations, the detective backed away from his suggestion and apologized. High projected costs and proposed tax increases to fund the construction of the building were met with public opposition, and in 2013 the city council abandoned the project. In 2009 Lightner was inducted into the Raleigh Hall of Fame. The following year a mural portraying prominent North Carolina African Americans was dedicated at the University of North Carolina's Knapp-Sanders Building. It included a depiction of Lightner. In 2010 the Federal Bureau of Investigation (FBI) released several files pertaining to Jesse Helms, a conservative Republican politician who had served as a United States senator. According to the files, in 1978 the FBI was given a letter from an anonymous source which indicated that Lightner was given \$10,000 to bribe black voters on behalf of Helms to not participate in that year's elections. Bruce Lightner called the allegation "ridiculous" and said, "My Daddy, like most African Americans, did not like or agree with anything Jesse Helms stood for." ## See also - List of first African-American mayors - List of mayors of Raleigh, North Carolina

Interstate 155 (Illinois)

Highway in Illinois

Interstate 155 (I-155) is a north–south spur of I-55 that provides an Interstate connection for the Illinois cities of Peoria and Lincoln. The northern terminus is just east of Peoria, at I-74 exit 101 in Morton. The southern terminus, which is northwest of Lincoln, is located on I-55 at exit 127. The highway is 32.13 miles (51.71 km) long. I-155 was created to replace Illinois Route 121 (IL 121). Prompted by safety concerns at a major intersection near Morton, state transportation officials replaced the entire route with a limited-access freeway. The Interstate was built in several segments from 1970 to 1992, a period that included a 10-year delay due to a lawsuit over right-of-way. I-155 fully opened to traffic on October 29, 1992. ## Route description I-155 runs north from I-55 just northwest of Lincoln, intersecting U.S. Route 136 (US 136) east of Emden. Five miles (8.0 km) north of US 136, eastbound IL 122 joins I-155 traveling north, directly east of Delavan. The two highways run concurrent for four miles (6.4 km) before IL 122 runs east to Hopedale. Further north, the highway crosses the Mackinaw River beside a steel truss bridge serving old IL 121. East of Tremont, I-155 intersects IL 9. Four miles (6.4 km) later is Main Street, the first of three northbound exits to Morton. (There are only two southbound exits, at Queenwood Road and IL 98/Birchwood Street). The highway passes to the west of Morton before intersecting I-74 at a trumpet interchange about eight miles (13 km) southeast of downtown Peoria. Surrounded mostly by prime land used for farming soybeans and corn, I-155 is a four-lane freeway through rural central Illinois. In addition to Morton, Peoria, and Lincoln, I-155 also serves a number of small farm towns located between Peoria and Lincoln. The largest city directly served by I-155 is Tremont; however, the highway mainly carries traffic traveling to and from Peoria and Springfield. ## History I-155 was built on the right-of-way of former IL 121. In the early 1960s, the Illinois Department of Transportation (IDOT) opened IL 98, an east–west, two-lane highway running west from downtown Morton to Pekin. Within a few years, the intersection of IL 98 and IL 121 would be known as the "Killer Corner", as traffic volumes increased between Springfield and Peoria on IL 121. Between when IL 98 was opened and when the corner was closed in 1989 for construction of a full interchange, 15 people were killed as a result of automobile accidents at the corner. Led by key supporters—US Representative Robert Michel, former IDOT transportation engineer Jack Harland, and pro-freeway organization "Route 121 by '91" chairman Jim Unland—IDOT initiated plans to upgrade IL 121 to a four-lane freeway. The proposed freeway was assigned as FAP 406. Near Hopedale, a short portion of IL 121 was reconstructed in the early 1970s to replace a bridge over the Mackinaw River. The interchange with I-55 was built but barricaded to traffic. In 1976, an injunction won by Peoria attorney Timothy Swain Sr. halted further construction on the highway for 10 years. The lawsuit was filed by Swain regarding the amount of right-of-way the freeway would consume on his 440-acre (180 ha) farm near Delavan. A US District Court judge sided with IDOT on building the road, but the US Court of Appeals for the 7th Circuit overturned the decision, forcing IDOT to rewrite its environmental impact statement regarding the Swain farm. In 1986, IDOT struck a deal with Swain, agreeing to reroute the road and take only 40 acres (16 ha) of land, ending the lawsuit and resuming construction activities. A portion of the road from I-55 to Hartsburg opened on December 15, 1989, about seven miles (11 km) in length. The freeway was opened in full on October 29, 1992, at a ceremony attended by Governor Jim Edgar. The total cost of construction for I-155 was \$130 million (equivalent to \$ in ). Of this, \$10 million (equivalent to \$ in ) was provided by federal funding. Illinois initially applied for the new freeway to be designated Interstate 37, but, on December 7, 1990, the request was deferred by the American Association of State Highway and Transportation Officials (AASHTO), pending approval by the Federal Highway Administration (FHWA) to add the freeway into the Interstate System. In addition, AASHTO suggested using a three-digit number when the application was resubmitted. Later, the state submitted another application to AASHTO for the freeway to be named Interstate 155. On June 9, 1991, the AASHTO application was approved and granted when I-155 was completed. ## Exit list

Tharsis (video game)

2016 strategy video game

Tharsis is a 2016 strategy video game developed and published by Choice Provisions. It was released worldwide in January 2016 for Windows and Mac OS X through the download service Steam, as well as for PlayStation 4, and later in April 2020 for the Nintendo Switch. The game follows a team of astronauts on the first crewed mission to Mars, in order to track down a signal that is apparently extraterrestrial in origin. After being hit by a micrometeorite storm, they must resort to desperate measures to survive the trip. A turn-based game played using simulated virtual dice, the player controls four characters, attempting to fix problems with the ship and keep the crew alive each turn by managing their dice cache, health, and stress level. Developed by designer Zach Gage and the indie development studio Choice Provisions, the game was created to mimic a board game experience. Critics were polarized on whether the gameplay was deeply strategic or overly dependent on random chance, and the game was more poorly received by video game reviewers than streamers, board game players or other developers. ## Gameplay Tharsis allows players to control four astronauts with unique jobs and abilities inside a heavily damaged spacecraft, the Iktomi. The game lasts for 10 in-game weeks, during which time the player must attempt to reach Mars without any of the crew perishing. At the start of each week, at least two parts of the ship will have a problem in need of repair, and which, if left alone, can damage the ship's hull integrity or crewmember health. The player can click each astronaut to deploy them to a certain module for that turn and repair them using the astronaut's dice. If a problem is not repaired after all crew members move, the negative effect will trigger. Each astronaut has their own health points, stress meter, and dice cache. Every roll of the dice decreases the character's maximum dice by one unless replenished with food. Problems can only be repaired by adding enough dice to match the indicated number. However, there are several types of hazards that can hinder dice rolls, which can only be avoided by gaining "assists". There are a maximum of three assists at a time, and one is consumed to prevent a hazard. Besides using the dice to repair, each room has a bonus that can be activated by rolling a certain dice, or combination of them. Extra dice can also be invested into research, allowing beneficial abilities to be used at a later time. At the end of each week, crew can work on side projects that the player can choose from. Usually, these side projects have both a positive and negative effect. The higher the crew's stress, the worse the negative effects, and if crew are allowed to go insane, they will work on a solo side project with a more drastic effect than usual, and may harm the other crew. The crew can also eat food, if any, during this time. Cannibalism can be used as a last resort if the crew runs out of food. The player can choose to feed the body of a crew member who died in the beginning of the game to various surviving crew. However, this has significant negative consequences to the characters' stress levels and maximum health, and affects the game's ending. ## Plot The game is set in the near future, where Earth has received a mysterious signal from Tharsis on Mars. With scientists believing it to be a sign of extraterrestrial life, the Iktomi is built, and its six crewmembers are sent to Mars to investigate the anomaly. Depending on the characters used, the voice of the commander will be either male or female. However, halfway through their mission, the ship is suddenly hit by a micrometeorite storm that kills two crew members, Mapiya Musgrave and J. Cross, and destroys the Pantry where the food is stored. With limited food supplies and crew, disasters start running rampant throughout the ship, and the astronauts are forced to constantly fight to survive. Despite still being able to contact Mission Control, they are unable to turn back home. During the journey, the crew deciphers data sent from Tharsis and realizes that it shows what seems to be an exact copy of the crew of the Iktomi who are in dire straits. Unsure of what to make of this data, they manage to survive until they reach Mars and launch the capsule, while the Iktomi remains in orbit and is destroyed. The crew tracks down the signal and comes across an alien artifact. Suddenly, the artifact flashes with a bright light. If one or more of the Iktomi's crew is dead, the artifact's energy release seemingly kills everyone. One of the crew manages to survive long enough to send a distress call, which the artifact sends back in time, creating a causal loop. However, if all of the crew survive, then one of the crew members manages to pick up a rock and throw it at the artifact, destroying it in a massive explosion, with their ultimate fate unknown and Mars now covered in a layer of snow, implying the planet can now support human life. ## Development According to an interview with Mike Roush, co-founder of Choice Provisions, the original inspiration for Tharsis was the story of the whaling ship Essex, which was sunk by a whale, forcing the crew to resort to desperate attempts to stay alive, including cannibalism. The game was also inspired by the Apollo 13 mission and the fact that they were forced to use unusual household items to maintain the air scrubber. The game was also created out of Choice Provisions's desire not to be "typecast" as a studio that only developed the Bit.Trip series or worked in an 8-bit retro style. Tharsis's art style was based on 70's sci-fi designs such as those used in Space: 1999 and UFO, but which was updated to be realistic in a modern-day context. The pastel color scheme was derived from that of a children's xylophone. The soundtrack consists of tracks from the album Half Age EP by Weval. The dice mechanic was used due to a perceived resurgence in the popularity of board games, as well as due to the uniqueness of the concept in video games. A challenge that was noted was the high learning curve of the game, which caused people to abandon it instead of watching the tutorial or delving deeper into the strategic mechanics. The game was balanced to provide a degree of challenge such that players could not beat the game on their first try, but required repeated attempts to be able to get further and further. The game's development took approximately two years to complete. ## Reception Tharsis received "mixed or average" reviews according to Metacritic, a review aggregator. Amongst positive reviews, Matt Peckham of Time called the game "ingenious" and "brutally exacting". Reviewer Andrei Dumitrescu of Softpedia cited "interesting mechanics" and "a lot of replayability", despite the high difficulty, and that the game showed how humans persevere in the face of hopeless odds. Brian Dumlao of Worthplaying scored the game moderately, praising the "lovingly rendered" graphics of the ship despite the "generic" characters, and saying the music was "done very well", though mentioning that the game was "not for everyone", and that people who weren't comfortable with losing far more often than they would win would be unhappy with the game. A common point of criticism was that success was perceived to be overly based on random chance. Patrick Hancock of Destructoid praised the game's graphics as "wonderful", aside from the faces of the crew members, but criticized the game for relying "too much on dice rolls", leading to the feeling that winning is too dependent on luck and "destroy[ing] one's interest in trying again". Rob Zacny of IGN stated that he felt that he had gotten lucky when things went well, instead of doing "something clever". Tyler Wilde of PC Gamer called the game highly "dependent on chance" and suggested that the difficulty varies widely depending on how good your dice rolls are for that particular playthrough. According to designer Zach Gage, Tharsis was one of the most critically divisive he ever worked on. The game received an overall negative response from publications that were video game focused, while it received a more positive response from streamers, board game players, and developers. He believes this is due to the fact that games of chance are usually used as a lazy shortcut to make things harder, or to take the player's money in mobile games, which caused the gameplay of Tharsis to be overlooked.

Churchill War Rooms

Museum in London

The Churchill War Rooms is a museum in London and one of the five branches of the Imperial War Museum. The museum comprises the Cabinet War Rooms, a historic underground complex that housed a British government command centre throughout the Second World War, and the Churchill Museum, a biographical museum exploring the life of British statesman Winston Churchill. Construction of the Cabinet War Rooms, located beneath the Treasury building in the Whitehall area of Westminster, began in 1938. They became fully operational on 27 August 1939, a week before Britain declared war on Germany. The War Rooms remained in operation throughout the Second World War, before being abandoned in August 1945 after the surrender of Japan. After the war, the historic value of the Cabinet War Rooms was recognised. Their preservation became the responsibility of the Ministry of Works and later the Department for the Environment, during which time very limited numbers of the public were able to visit by appointment. In the early 1980s, the Imperial War Museum was asked to take over the administration of the site, and the Cabinet War Rooms were opened to the public in April 1984. The museum was reopened in 2005 following a major redevelopment as the Churchill Museum and Cabinet War Rooms, but in 2010 this title was shortened to the Churchill War Rooms. ## Construction In 1936 the Air Ministry, the British government department responsible for the Royal Air Force, believed that in the event of war enemy aerial bombing of London would cause up to 200,000 casualties per week. British government commissions under Warren Fisher and Sir James Rae in 1937 and 1938 considered that key government offices should be dispersed from central London to the suburbs, and nonessential offices to the Midlands or North West. Pending this dispersal, in March 1938 Sir Hastings Ismay, then Deputy Secretary of the Committee of Imperial Defence, ordered an Office of Works survey of Whitehall to identify a suitable site for a temporary emergency government centre for use during bombing raids. Although it is commonplace for present-day governments to operate such facilities, this was the first time the British government had required one, and as such there was no precedent for how or where it should be built, or what it should contain. In May, as German troops were gathering on the border with Czechoslovakia, the Office concluded the most suitable site was the basement of the New Public Offices (NPO), a government building located on the corner of Horse Guards Road and Great George Street, near Parliament Square. The building now accommodates HM Treasury. `Work to convert the basement of the New Public Offices began, under the supervision of Ismay and Sir Leslie Hollis, in June 1938. The work included installing communications and broadcasting equipment, soundproofing, ventilation and reinforcement. Because the War Rooms are below the level of the River Thames, flood doors and pumps were installed to prevent flooding. Meanwhile, by the summer of 1938 the War Office, Admiralty and Air Ministry had developed the concept of a Central War Room that would facilitate discussion and decision-making between the Chiefs of Staff of the armed forces.` As ultimate authority lay with the civilian government the Cabinet, or a smaller War Cabinet, would require close access to senior military figures. This implied accommodation close to the armed forces' Central War Room. In May 1939 it was decided that the Cabinet would be housed within the Central War Room. In August 1939, with war imminent and protected government facilities in the suburbs not yet ready, the War Rooms became operational on 27 August 1939, only days before the invasion of Poland on 1 September, and Britain's declaration of war on Germany on 3 September. ## Wartime use Staff accessed the War Rooms via the main entrance of the NPO, and once inside the building, descended down Staircase 15, entering near to the Churchills' kitchen. During its operational life, two of the Cabinet War Rooms were of particular importance. Once operational, the facility's Map Room was in constant use and manned around the clock by officers of the Royal Navy, British army and Royal Air Force. These officers were responsible for producing a daily intelligence summary for the King, Prime Minister and the military Chiefs of Staff. The other key room was the Cabinet Room, where the Prime Minister and his key advisers would meet with the three Chiefs of Staff- the heads of the army, navy, and air force. Secrecy was paramount, and two sentries were posted outside the door during meetings, which would sometimes continue into the small hours of the morning. Until the opening of the Battle of France, which began on 10 May 1940, Prime Minister Neville Chamberlain's war cabinet met at the War Rooms only once, in October 1939. Following Winston Churchill's appointment as Prime Minister, Churchill visited the Cabinet Room in May 1940 and declared: 'This is the room from which I will direct the war'. In total 115 Cabinet meetings were held at the Cabinet War Rooms, the last on 28 March 1945, when the German V-weapon bombing campaign came to an end. On 22 October 1940, during the Blitz bombing campaign against Britain, it was decided to increase the protection of the Cabinet War Rooms by the installation of a massive layer of concrete known as 'the Slab'. Up to 5 feet (1.5 metres) thick, the Slab was progressively extended and by spring 1941 the increased protection had enabled the Cabinet War Rooms to expand to three times their original size. While the usage of many of the War Rooms' individual rooms changed over the course of the war, the facility included dormitories for staff, private bedrooms for military officers and senior ministers, and rooms for typists or telephone switchboard operators. Two other notable rooms include the Transatlantic Telephone Room and Churchill's office-bedroom. From 1943, a SIGSALY code-scrambling encrypted telephone was installed in the basement of Selfridges, Oxford Street connected to a similar terminal in the Pentagon building. This enabled Churchill to speak securely with American President Roosevelt in Washington, with the first conference taking place on 15 July 1943. Later extensions were installed to both 10 Downing Street and the specially constructed Transatlantic Telephone Room within the Cabinet War Rooms. Churchill's office-bedroom, open from 27 July 1940, included BBC broadcasting equipment; Churchill made four wartime broadcasts from the Cabinet War Rooms, the first being on 11 September 1940. Although the office room was also fitted out as a bedroom, Churchill rarely slept underground, preferring to sleep at 10 Downing Street or the No.10 Annexe, a flat in the New Public Offices directly above the Cabinet War Rooms. His daughter Mary Soames often slept in the bedroom allocated to Mrs Churchill. Below the level of the Cabinet War Rooms, a further sub-basement nicknamed "the Dock" was provided for staff members to sleep, so that they didn't have to make their way home through heavy air raids at the end of their shifts. As the name suggests, the Dock was not a comfortable place. The ventilation system rattled throughout the night, mice were common, occupants had to stoop due to low ceilings, and there were no flushing toilets, only chemical ones. Ismay's personal secretary, Betty Green, described it as "revolting". Rooms 60 Right and 60A were used as a telephone switchboard and a typing pool respectively. Due to the rudimentary nature of photocopying equipment available at the time, up to 11 typists were stationed in the typing pool at any one time, typing out copies of meeting minutes by hand. ## Abandonment and preservation On 15 August 1945, Japan surrendered, bringing an end to the war. The following day, the lights in the Map Room were simply turned off and the staff vacated their offices. Several were cleared and used for other purposes, but the Cabinet Room, Map Room, Transatlantic Telephone Room and Churchill's bedroom were preserved for their historic value. Their maintenance became the responsibility of the Ministry of Works. In March 1948 the question of public access to the War Rooms was raised in Parliament and the Minister responsible, Charles Key MP, considered that 'it would not be practicable to throw open for inspection by the general public accommodation which forms part of an office where confidential work is carried on'. Even so, a tour was organised for journalists on 17 March, with members of the press being welcomed by Lord Ismay and shown around the Rooms by their custodian, Mr. George Rance. While the Rooms were not open to the general public, they could be visited by appointment, with access being restricted to small groups. Even so, by the 1970s (with responsibility for the Rooms having passed to the Department for the Environment in 1975) tens of thousands of requests to visit the Rooms were being received every year, of which only 5,000 were successful. Meanwhile, the atmospheric conditions of the site, being dry and dusty, were having a detrimental effect on the rooms' furnishings and historic maps and other documents. The prospect was raised of decanting the contents of the Rooms to an established museum, with the National Army Museum and Imperial War Museum being suggested as candidates. In the event, £7,000 was secured to conserve the material in situ. ## Opening and redevelopment In 1974, the Imperial War Museum was approached by the government and asked to consider taking over the administration of the site. A feasibility study was prepared but came to nothing, the museum feeling it did not have sufficient resources to commit to the War Rooms. In 1981, Prime Minister Margaret Thatcher, known as an admirer of Winston Churchill, expressed the hope that the Rooms could be opened before the next general election. The Imperial War Museum was again approached. Initially still reluctant, the museum's trustees decided in January 1982 that the museum would take over the site, on the understanding that the government would make the necessary resources available. The initial costs were to be met by the Department for the Environment and the War Rooms intended to be self-supporting thereafter. The Rooms were opened to the public by Mrs Thatcher on 4 April 1984 in a ceremony attended by Churchill family members and former Cabinet War Rooms staff. At first the Rooms were administered by the museum on behalf of Department for the Environment; in 1989 responsibility was transferred to the Imperial War Museum. Following a major expansion in 2003, a suite of rooms used as accommodation by Churchill, his wife and close associates, was added to the museum. The restoration of these rooms, which after the war had been stripped of furnishings and used for storage, cost £7.5 million. In June 2012 the museum's entrance was redesigned by Clash Architects with consulting engineers Price & Myers. Intended to act as a 'beacon' for the museum, the new external design included a faceted bronze entranceway, and the interior showed the cleaned and restored Portland stone walls of the Treasury building and Clive Steps. The design was described as 'appropriately martial and bulldog-like' and as 'a fusion of architecture and sculpture'. ### Churchill Museum In 2005 the War Rooms were rebranded as the Churchill Museum and Cabinet War Rooms, with 850 m² (9,100 sq ft) of the site redeveloped as a biographical museum exploring Churchill's life, the development of which cost a further £6 million raised from private funds. The museum makes extensive use of audiovisual technology, with the centrepiece being a 15-metre interactive table that enables visitors to access digitised material, particularly from the Churchill Archives Centre. The museum is set out in chronological chunks, beginning with Churchill's appointment as Prime Minister in 1940 and going up to the end of his life in 1965 before starting again with his childhood and returning to May 1940. The Churchill Museum won the 2006 Council of Europe Museum Prize. During 2009–2011 the museum received over 300,000 visitors a year. In May 2010 the name of the museum was shortened to Churchill War Rooms.

Sofia the First

American animated television series

Sofia the First is an American animated fantasy children's television series created by Craig Gerber. The series follows a young peasant girl named Sofia, voiced by Ariel Winter, who becomes a princess after her mother marries the king of Enchancia. Episodes focus on her adventures and bonds with others, including her animal friends, with whom she communicates through an amulet that blesses and curses her based upon the goodness of her actions. The series aimed to employ relatable situations in a fantasy world; according to Gerber, Sofia's position as a child of a single mother allowed the team to explore themes of adaptation and connect to modern children. The series pilot premiered on November 18, 2012, on Disney Channel. The series itself premiered on January 11, 2013, on Disney Junior, aired for four seasons, and concluded on September 8, 2018. Sofia the First was praised for its music, animation, characters, and messages. It received some of the highest viewership for a preschool cable television series; at one point, it became the category's most-watched program, with a variety of merchandise being influenced by the series, such as theme park rides and books. Sofia the First was nominated for 11 Daytime Emmy Awards, including two wins, and received the 2014 Annie Award for Best General Audience Animated TV/Broadcast Production for Preschool Children. However, the series received criticism for identifying its titular character as Latina; the controversy ultimately led to the creation of the spin-off Elena of Avalor. ## Plot A young girl named Sofia and her widowed mother, Miranda, have lived a peasant life in the kingdom of Enchancia. One day, the widowed King Roland of Enchancia and Miranda fall in love and get married. As she eases into her new role as a princess, Sofia goes on numerous adventures. She also bonds with her new family, including her step-siblings Amber and James, and settles into her new royal school, where Flora, Fauna and Merryweather from Sleeping Beauty are headmistresses. Roland gives Sofia a powerful artifact called the Amulet of Avalor, which blesses her for good deeds and curses her for wrongdoings. She becomes friends with rabbit Clover and birds Mia and Robin after the amulet gives her the ability to communicate with animals. The amulet also links "all the princesses there ever were", calling them to help each other when one is in need. Cedric, the royal sorcerer, regularly attempts to steal Sofia's amulet, knowing of its abilities. Cedric plans to use the power of the amulet to overthrow the royal family and take over the kingdom of Enchancia. As he grows closer to Sofia, however, he becomes doubtful about stealing the amulet, and eventually reveals his intentions and apologizes for his actions. In the third season, Sofia's Aunt Tilly gives her a special book that guides her to a secret library hidden in the castle. The library is filled with hundreds of unfinished books; Sofia is responsible for giving each story a happy ending. In the fourth season, a book leads her to the Mystic Isles, a land above the clouds where all magic originates. She saves the Isles from the evil crystal master Prisma and begins training to become the Protector of the Ever Realm. Prisma discovers evil sorceress Vor and frees her using the "Wicked Nine", in spite of Sofia and the other protectors' efforts to stop her. In the series finale, Sofia defeats Vor and officially becomes the Protector of the Ever Realm. ## Cast and characters - Ariel Winter as Sofia Cordova - Wayne Brady as Clover - Darcy Rose Byrnes as Princess Amber - Zach Callison (Upon a Princess Pilot/Season 1-2), Tyler Merna (Season 2-3/Elena of Avalor Pilot) and Nicolas Cantu (Season 3-4) as Prince James - Sara Ramirez as Miranda Cordova - Travis Willingham as King Roland II - Tim Gunn as Baileywick - Jess Harnell as Cedric the Sorcerer ## Production For five years, Disney writers, child-development and early-education experts and storytelling consultants worked to create a television show that would bypass stereotypes of evil stepmothers and girls requiring princes to save them. Disney also wanted it to spawn various merchandise. Craig Gerber, who was writing for the company's Tinker Bell film series, was approached by Disney Junior's Nancy Kanter to create a television series about princesses aimed at children aged two to seven. Though excited to conceive a fantasy world and Princess fairy tale, Gerber wanted the show to be both entertaining and educational, teaching children how to be better people and solutions to social problems. His son often emulated a variety of fantasy characters with whom he had little in common. In the hopes the show could be a "magic mirror" for his son, Gerber employed relatable situations into the fantasy world, which became the genesis for Princess Sofia. As a child, Gerber lived with his single mother, and her boyfriend and his daughter, whom Gerber considered to be a de facto stepsister. As an adult, he learnt that when step-siblings and parents were involved, ordinary childhood concerns were typically amplified. Decades later, while attempting to lend a contemporary viewpoint to a fairy tale world, he had an epiphany: He considered the possibilities if Sofia was not born a princess and instead married into a royal family. Step-sisters are a common theme in fairy tales. However, having a mixed royal family that included both a father and a mother appeared to be a prime opportunity to convey stories to which modern children could connect. According to Gerber, Sofia being the child of a single mother provided to a simple method to explore themes of adaptation. He hoped for Sofia to serve as a good role model in a society where many young girls desire to be princesses, demonstrating attributes and learning skills that young girls (and boys) could remember long after. Gerber planned to reference multicultural family dynamics as well. The editor of Tangled (2010) recommended Kevin Kliesch, who helped orchestrate the film, to Disney Channel as a composer for Sofia the First. The network was positive towards his background, and he booked the job. Kliesch was usually given one to two weeks to write the music, meaning he had to compose for at least three minutes a day to meet this deadline. The score draws upon the sounds of previous Disney films, since the producers hoped to avoid "typical cartoon music". Similarly, in the original songs, Gerber and the composer included aspects of Motown, jazz, and hip-hop music, rather than "cloying kiddie sounds". ## Episodes ## Distribution ### Broadcast The series pilot—the television film Once Upon a Princess—premiered on Disney Channel on November 18, 2012. The series itself premiered on January 11, 2013; the show aired on Disney Channel during its Disney Junior block, in addition to the 24-hour channel Disney Junior. Sofia the First was renewed for a second season two months later. In November, the series aired the special "The Floating Palace". Its first season concluded on February 14, 2014. A month earlier, the series had been renewed for a third season. The second season premiered on March 7, 2014, and concluded on August 12, 2015, with a primetime special, titled "The Curse of Princess Ivy", airing on November 23, 2014. On April 14, 2015, the series was renewed for a fourth and final season by Disney Junior, which began its broadcast on April 28, 2017. The extended series finale special "Forever Royal" was aired on September 8, 2018. ### Home media and streaming The series premiere episode, titled "Just One of the Princes", was made available on several platforms, including Disney Channel SVOD and iTunes, on January 4, 2013, a week before its airdate. Sofia the First was streamable on Netflix; its second and fourth seasons were made available in January 2016 and October 2018, respectively. The show was moved to Disney+ after its Netflix contract expired. In October 2022, the series was released on Disney+ in the United States. Disney has also released several episodes on DVD, including "The Floating Palace", "The Curse of Princess Ivy", and the television film Once Upon a Princess. ## Reception ### Critical reception Sofia the First has received generally positive reviews. In May 2020, Time Out named it one of the 30 best children's cartoons. The show's animation and music received praise. IndieWire's Greg Ehrbar commended the fluidity in the cinematography and computer animation; Emily Ashby of Common Sense Media said the "crisp animation ... brings ... Sofia and a well-rounded supporting cast [to life]". The two praised the music as "lively" and "tuneful", respectively, with Ehrbar comparing the "lavishly orchestrated" score to that of a Disney animated feature. Critics lauded the characters. Ashby referred to Sofia as a "[s]punky, well-rounded princess", praising her influence on other characters and requests for advice when needed. She also thought the supporting cast displayed positive traits, such as loyalty, honesty, and friendship. Matt Villano, who writes for Today, enjoyed the titular character's villager friends, whom he believe emulate real-life modern teenagers. Ashby and Villano were positive towards Sofia the First's themes. According to the latter, the series does not emphasize the characters' socioeconomic backgrounds and genders, as they can achieve anything they would like with enough determination. He and his wife often attempt to teach their children the morals communicated on the show and feel that "[i]t's nice to know that someone over at Disney finally has our backs". ### U.S. television ratings According to Dade Hayes, the executive editor of trade publication Broadcasting & Cable, the show was deemed "risky", as it mostly aims to entertain rather than educate. Sofia the First: Once Upon a Princess premiered on Disney Channel on November 18, 2012, garnering 8.17 million viewers (when the Live+7 ratings were tabulated), which made it the number one cable TV telecast of all time for kids 2–5 and girls 2–5. It also set a record for the number one preschool cable TV telecast ever in total viewers and for adults 18–49. The January 2013 series premiere was watched by 2.7 million people, making it the second highest-rated weekday preschool cable debut since August 2000. It also became the highest-rated preschool show premiere categories of kids aged 2–5, girls aged 2–5, adults aged 18–49, and women aged 18–49. By March 2013, Sofia the First was cable television's most-viewed preschool program; The New York Times described the show as "a monster-size new hit". In 2014, "The Curse of Princess Ivy" became the series second highest-rated telecast, garnering an average of approximately 4.7 million viewers. Across all television, it was the number one telecast for children and girls aged 2–5 at the time of broadcast. ### Awards and nominations ### Controversy During a press tour in October 2012, a producer identified Sofia as a Latina. The announcement drew both praise and criticism from media outlets. Latinos and fans saw it as a new milestone for Disney and lauded the choice of a light skin tone for a Latina character. Others were critical that she did not have any cultural signifiers or ethnic identity and believed a darker skin tone would better represent the Latina community. A Disney Junior general manager later clarified: "Sofia is a fairytale girl who lives in a fairytale world. All our characters come from fantasy lands that may reflect elements of various cultures and ethnicities but none are meant to specifically represent those real world cultures". According to a Disney spokeswoman, Sofia has a mixed fairy-tale heritage; her mother and father are from Galdiz (which is based on Spain) and Freezenburg (which is based on Scandinavia), respectively. ## Other media ### Spin-off Following the controversy regarding Sofia's ethnicity, Gerber noticed the demand for a Latina princess; the idea "bubbled in [his] mind" and partially inspired the creation of spin-off series Elena of Avalor, which stars a Latina princess as its titular character. She is introduced in Sofia the First special episode Elena and the Secret of Avalor, in which Sofia discovers that Elena has been trapped inside her amulet for decades because of an invasion of Avalor by the evil sorceress Shuriki. Sofia and her family travel to Avalor to free Elena and restore the kingdom. In November 2022, Gerber reportedly expanded his deal with Disney. He began developing a Sofia the First spin-off that is set in the same world. ### Merchandising In January 2013, Disney Junior published a hardcover picture book based on the series, which entered The New York Times Best Seller list, with approximately 450,000 copies sold. Most mainstream merchandise was first released from March to June of that year; the products immediately became best-sellers. At Toys "R" Us, the show's merchandise proved to be some of the most popular toys from June to September. In 2013, merchandise related to Sofia the First and two other Disney Junior shows—Jake and the Neverland Pirates and Doc McStuffins—generated retails sales of \$1.8 billion globally. The series was part of the Disney Junior – Live on Stage! at Disney's Hollywood Studios as well as Disney California Adventure. Disney Junior Dance Party on Tour, a tour featuring a 90-minute concert, also includes Sofia the First. ## See also - Disney Princess

Ross Youngs

American baseball player

Ross Middlebrook "Pep" Youngs (April 10, 1897 – October 22, 1927) was an American professional baseball player. Nicknamed "Pep", he played ten seasons in Major League Baseball for the New York Giants from 1917 through 1926, playing right field almost exclusively. Youngs was a part of the Giants teams that won four consecutive National League pennants and the 1921 and 1922 World Series. From Shiner, Texas, Youngs excelled at baseball and American football at the West Texas Military Institute. After beginning his professional career in minor league baseball, Youngs was signed by the Giants in 1916. Youngs had a lifetime .322 batting average with the Giants and batted over .300 nine times in his career, including eight consecutive seasons. His career was cut short by illness, however, as he died at the age of 30 of Bright's disease. Youngs was elected to the Baseball Hall of Fame in 1972 by the Veterans Committee. His election was not without controversy, however, as the Veterans Committee consisted of his former teammates, and charges of cronyism were leveled against the committee. ## Early life and minor leagues Youngs was born in Shiner, Texas, the second of three children, all sons. His father was a railroad worker, but suffered disability and moved his family to San Antonio where he worked as a rancher. Youngs' mother ran a small hotel in San Antonio and Youngs had a paper route. Youngs was educated at West Texas Military Institute. He received offers for scholarships to play college football but passed on these, as he preferred baseball. He made his professional baseball debut for the Austin Senators of the Texas League in 1914. Appearing in 17 games, he hit just .145 for the class-B Senators and, in 1915, found himself down in the Class-D leagues, playing for Brenham of the Middle Texas League and the Waxahachie Athletics of the Central Texas League; both leagues disbanded during the season. In 1916, playing in the infield for the Sherman Lions of the Class-D Western Association, he hit .362 as a switch-hitter, drawing the attention of the New York Giants, who purchased his contract in August for \$2,000 (\$ in current dollar terms). ## New York Giants Youngs reported to spring training in Marlin, Texas with the Giants in 1917. They initially assigned him to the Rochester Hustlers, a team in the International League with which the Giants had a working relationship. Giants manager John McGraw told Mickey Doolan, the manager of the Hustlers, "I'm giving you one of the greatest players I've ever seen. Play him in the outfield. If anything happens to him, I'm holding you responsible." In 140 games with Rochester, Youngs hit .356, earning himself a late-season promotion to the big league club. McGraw gave Youngs the nickname "Pep" due to his hustle and soon began to groom Youngs to become his successor as Giants' manager. Youngs made his major league debut on September 25 and played in seven of the last nine games of the season for the eventual National League (NL) pennant-winners: six in center field and one in right. In those seven games he went 9-for-26 (.346) with two doubles and three triples. In 1918, regular Giants right fielder Dave Robertson left the team to manage a local military ballclub, and Youngs was given the full-time job out of spring training. Batting exclusively left-handed, Youngs responded by batting .302 in 121 games, finishing sixth in the league. It would be the first of seven straight seasons in which he hit .300 as a regular, and the second of eight overall counting his brief stint in 1917. He also finished sixth in the NL with a .368 on-base percentage (OBP). The next season Robertson was traded to the Chicago Cubs for pitcher Phil Douglas, leaving Youngs to become a fixture in right field for the Giants. Youngs finished third in the NL in 1919 with a .311 batting average. His .351 batting average in 1920 was second in the NL to Rogers Hornsby. Youngs batted .327 in 1921, good for ninth in the NL. In Game 3 of the 1921 World Series Youngs became the first player to record two hits in the same inning of a World Series game. The Giants defeated the New York Yankees as Youngs batted .280 in the series. Youngs hit for the cycle on April 29, 1922. He finished the regular season ninth in the NL in OBP (.398) and tied for ninth in stolen bases (17), proceeding to hit .375 in the 1922 World Series as the Giants again defeated the Yankees. Youngs led the NL in runs scored in 1923, with 121, and his .348 batting average was the eighth best in the league. Youngs batted .356 in the 1923 World Series, which the Giants lost to the Yankees. Youngs batted .356 during the 1924 season, finishing third in the NL. In the final series of this season, the Giants were playing the Philadelphia Phillies at the Polo Grounds and battling for the pennant with the Brooklyn Dodgers. Jimmy O'Connell, an outfielder for the Giants, offered Phillies shortstop Heinie Sand \$500 to intentionally lose the games (\$ in current dollar terms). Sand rejected the bribe and reported it to Phillies manager Art Fletcher. It eventually led to the lifetime suspension of O'Connell and Giants coach Crazy Dolan by Commissioner Kenesaw Mountain Landis. O'Connell implicated teammates Youngs, George Kelly, and Frankie Frisch as co-conspirators; Landis, however, cleared the trio of any wrongdoing. Youngs slumped to a .185 batting average during the 1924 World Series, which the Giants lost to the Washington Senators. Continuing to struggle in 1925, Youngs batted .264, his only season with a batting average below .300, but improved to .306 in 95 games during the 1926 season. Toward the end of his career, Youngs taught Mel Ott, his eventual successor, how to play right field in the Polo Grounds. ## Illness and death Youngs's career was abruptly cut short in 1926, when he was diagnosed with the kidney disorder that, at the time, was called Bright's disease. He had been exposed to streptococcal infection in 1924. Too ill to play after August 10, 1926, Youngs returned home on McGraw's insistence and received a blood transfusion in March 1927. Youngs died of Bright's disease on October 22, 1927, at the age of 30. He went from weighing 170 pounds (77 kg) during his playing career to 100 pounds (45 kg) by the time of his death. In Youngs' obituary in The New York Times, Giants manager John McGraw called Youngs "the greatest outfielder I ever saw on a ball field." The Giants honored Youngs with a bronze plaque on the right field wall of the Polo Grounds; although the Giants intended to pay for it, fans expressed their desire to contribute and, even though contributions were limited to \$1 per person, donations paid for the plaque entirely. ## Legacy Over his ten-year career, Youngs posted 812 runs, 42 home runs, 592 runs batted in (RBI), 153 stolen bases, .322 career batting average, .399 on-base percentage and .441 slugging percentage. He batted .300 or higher in every season until 1925, and higher than .350 twice. Youngs scored 100 or more runs three times and posted a career-high 102 RBI in 1921 and 10 home runs in 1924. During his tenure with the team, the Giants went to the World Series four consecutive years (1921–1924) and won twice (1921, 1922). Youngs was a favorite of McGraw, who kept only two pictures in his office: one of Christy Mathewson and one of Youngs. Rosy Ryan, a teammate with the Giants, and Burleigh Grimes, who played against Youngs as a member of the Brooklyn Dodgers, considered Youngs the best player they ever saw. Youngs was included in the inaugural balloting for the National Baseball Hall of Fame in 1936, but received less than 5% of the vote from the Baseball Writers' Association of America (BBWAA). Youngs remained on the ballot every year through 1956, receiving his highest vote total in 1947 with 22%. Ford C. Frick, Commissioner of Baseball, and former teammate Bill Terry both championed Youngs' candidacy. Former Giants teammates Terry and Frankie Frisch joined the Veterans Committee in 1967 and aided the elections of several of their former teammates, including Youngs in 1972. In addition to Youngs, Terry and Frisch shepherded the selections of Giants teammates Jesse Haines in 1970, Dave Bancroft and Chick Hafey in 1971, George Kelly in 1973, Jim Bottomley in 1974, and Freddie Lindstrom in 1976. Youngs died at the earliest age of any current Hall of Famer. Youngs is the only member of the National Baseball Hall of Fame from San Antonio and was inducted into the San Antonio Sports Hall of Fame in 1998. Shiner, the town in which Youngs was born, hosted a baseball tournament in his honor at Clipper Field from 2001 through 2003. Youngs' selection, along with some of the other selections made by Terry and Frisch, has been considered one of the weakest in some circles. According to the BBWAA, the Veterans Committee was not selective enough in choosing members, and charges of cronyism were later leveled against the committee. This led to the Veterans Committee having its powers reduced in subsequent years. Baseball statistician Bill James recognized this and wrote that Youngs does not belong in the Hall of Fame. In 1981, however, Lawrence Ritter and Donald Honig included Youngs in their book The 100 Greatest Baseball Players of All Time. They explained what they called "the Smoky Joe Wood Syndrome", where a player of truly exceptional talent but a career curtailed by injury or illness should still – in spite of not owning career statistics that would quantitatively rank him with the all-time greats – be included on their list of the 100 greatest players. ## Personal life Youngs married Dorothy Pienecke, a woman from Brooklyn who he met while vacationing in the Berkshires, in October 1924. Their daughter Caroline was born in December 1925. Dorothy feuded with Youngs' mother, however, and the couple separated before the birth of Caroline, whom he never met. Youngs was considered friendly and generous, loaned money constantly, and was reportedly owed \$16,000 at the time of his death (\$ in current dollar terms). Youngs enjoyed playing golf and was considered the best golfer in the major leagues. ## See also - List of baseball players who died during their careers - List of Major League Baseball players to hit for the cycle - List of Major League Baseball career stolen bases leaders - List of Major League Baseball annual runs scored leaders - List of Major League Baseball annual doubles leaders - List of Major League Baseball players who spent their entire career with one franchise

The Blackstone Hotel

Historic hotel in downtown Chicago, Illinois, United States

The Blackstone Hotel is a historic 290-foot (88 m) 21-story hotel on the corner of Michigan Avenue and Balbo Drive in the Michigan Boulevard Historic District in the Loop community area of Chicago, Illinois. Built between 1908 and 1910, it is on the National Register of Historic Places. The Blackstone is famous for hosting celebrity guests, including numerous U.S. presidents, for which it was known as the "Hotel of Presidents" for much of the 20th century, and for contributing the term "smoke-filled room" to political parlance. ## History ### Early Years The hotel and the adjacent Blackstone Theatre were built on the former site of railroad millionaire Timothy Blackstone's mansion in 1908. The owners were brothers John and Tracy Drake, sons of Blackstone's former business partner, the hotel magnate John Drake. John and Tracy Drake also developed the luxury Drake Hotel. At the time of the opening, the hotel and theatre were located at the southern edge of the Chicago Theatre District at Michigan Avenue and Hubbard Court (which was first renamed 7th Street and later Balbo Drive). The hotel opened on April 16, 1910. It was named for Timothy Blackstone, a notable Chicago business executive and politician, who served as the founding president of the Union Stock Yards, president of the Chicago and Alton Railroad, and mayor of La Salle, Illinois. It was built from 1908 to 1910 and designed by Marshall and Fox. The original construction was capitalized at \$1.5 million (\$ million today), including a \$600,000 to \$750,000 bond issue by the Drake Hotel Company. ### Later Years In the 1920s, the Drake Hotel Company undertook some financing arrangements which included extending their debt to construct the Drake Hotel. They used the Blackstone Hotel as collateral for one loan in 1927. The Wall Street Crash of 1929 rippled into the hotel industry, leaving the Chicago Title and Trust Company with 30 Chicago hotels in receivership and causing the Drakes to default in 1932. The hotel ended up belonging to Metropolitan Life, which held the mortgage. MetLife leased the Blackstone to hotelier Arnold Kirkeby in 1936, and Kirkeby bought the hotel outright in 1941. Kirkeby sold the hotel to Sheraton Hotels in 1954 and it was renamed the Sheraton-Blackstone Hotel. The hotel endured troubles in the late 1960s, as the neighborhood surrounding it declined, and Sheraton finally sold the property to local hotelier Mark Friedman on September 12, 1973, for \$5 million and the hotel became the Blackstone Hotel again. In 1995, the Blackstone was sold to the Maharishi Mahesh Yogi. 1995 was also the end of Jazz Showcase's 14-year run at the hotel. On May 29, 1998, the Blackstone Hotel was designated as a Chicago Landmark. The hotel was added to the National Register of Historic Places on May 8, 1986. It is also a historic district contributing property for the Chicago Landmark Historic Michigan Boulevard District. ### Closure The hotel closed in 2000, after Occupational Safety and Health Administration building inspectors found safety problems during a 1999 inspection. The building's owner, Heaven on Earth Inns Corp, run by Maharishi Mahesh Yogi, looked into several options before selling the property to Rubloff, Inc., which in 2001 announced plans to convert the building into condominiums priced as high as \$8.5 million. Rubloff's plans were unsuccessful due to financing difficulties and a lackluster market for buyers of Blackstone condominiums. Even two rounds of price cuts were not enough to spur interest in the condo opportunities and Maharishi Mahesh Yogi's non-profit organization was unable to obtain financing. The years of neglect following the closing of the hotel took a toll on the building's appearance with both the interior and exterior facade crumbling. ### Restoration In 2005, it was announced that the hotel would undergo a \$112 million renovation and acquisition (\$22 million of the expected \$112 million was the cost associated with the acquisition) with a planned opening in 2007 in a deal between Marriott International/Renaissance Hotels and Sage Hospitality, a Denver, Colorado-based company. Sage had been interested in the property long before the condominium conversion was attempted. The hotel's restoration process was quite lengthy because of the extensive interior damage. Sage sought \$22 million in tax increment financing from the Chicago Community Development Commission. They eventually were approved for \$18 million in tax-increment financing. The final cost of the restoration came to \$128 million, of which the city of Chicago provided \$13.5 million for street-front improvement, including the restoration and recasting of over 10,000 pieces of decorative terra cotta, and federal historical tax credits because the building is a historical landmark. The Chicago Landmark status necessitated renovation oversight by the Commission on Chicago Landmarks. The newly restored Renaissance Blackstone Hotel reopened to the public on March 2, 2008, and celebrated its grand reopening on April 30, 2008 with a ribbon-cutting ceremony. The other parties involved in the restoration were local architect Lucien Lagrange and hotel interior design, development, and procurement firm Gettys, for design work. James McHugh Construction Co. was responsible for construction. The engineering firm handling the exterior renovation was Illinois-based Wiss, Janney, Elstner Associates, Inc. The restoration resulted in 332 rooms, 12 suites, and 13,230 square feet (1,229 m²) of meeting space. The 21-story hotel is now equipped with a health club, a business center, and a street-level cafe with outdoor seating area. As part of the restorations, sconces and chandeliers were restored. Many of the details, such as brass fittings, several of the statues and the original chandeliers, had been sold off. However, Sage was able to repurchase many of them on eBay and refabricate many others. The primary historic facades were fully restored, including the hotel's ornate terra cotta-clad exterior. All the guest-room floors were reconfigured and dramatically enlarged. Some have described the restoration as "garish". Only two guest rooms were preserved during the restoration: the famous ninth-floor "smoke-filled room" and the original tenth-floor presidential suite. They both retained their original floors, fireplaces, and structural shapes. However, the Presidential Suite's famed hidden passage behind the fireplace—which allowed the president to exit through the hotel's eastern stairwell unnoticed—has been converted into closet space. Notable features that failed to survive the renovation were a barbershop, which has been converted to a rentable meeting room named "the barbershop", and the theater, which was converted to the Blackstone's bar and restaurant. On June 7, 2017, The Blackstone was transferred from Marriott's Renaissance Hotels division to their Autograph Hotels division and returned to its historic name, The Blackstone Hotel. The transition included a renovation to update the look of the hotel with a historic meets-contemporary-feel by revitalizing the soft goods of the guest rooms, meeting spaces and lobby. The hotel formerly featured a bar in the lobby called Timothy's Hutch, paying homage to the hotel's namesake, Timothy Blackstone. ## Hotel and politics The Blackstone Hotel has been dubbed "The Hotel of Presidents". It was once considered one of Chicago's finest luxury hotels, and a dozen 20th-century U.S. presidents have stayed at the hotel.[^1] In addition, the Blackstone has also become part of Chicago's history as the city that has hosted more United States presidential nominating conventions (26) than any other two American cities, a history which goes back to the 1860 Republican National Convention hosted at the Wigwam. The Blackstone also hosted first Czechoslovak president T.G.Masaryk. The hotel has a special room designed for use by presidents which was separated from the rest of the hotel by hollowed out walls in which the Secret Service could operate. In 1911, Republican businessman and philanthropist Julius Rosenwald—then president of Sears, Roebuck & Company—invited African American educator Booker T. Washington and a few dozen of Chicago's leading citizens to discuss raising funds for Washington's Tuskegee Institute. Washington became the hotel's first African American guest. As a result of the meeting, Rosenwald became a supporter and trustee of Tuskegee, and the following year initiated a campaign to fund the construction and support of schools throughout the South to provide an education to black children, by the time of his death building nearly 5000 schools educating well over half a million African American children. In 1920, Warren G. Harding was selected as the Republican candidate for the presidency at the Blackstone. Although the convention was being held at the Chicago Coliseum, a group of Republican leaders met at the Blackstone on the night of June 11 to come to a consensus. When Raymond Clapper of United Press reported on the decision-making process, the reporter stated it had been made "in a smoke-filled room". The phrase entered American political parlance to denote a political process which is not open to scrutiny. In addition, the Blackstone is where Franklin Delano Roosevelt's third-term Democratic presidential nomination was forged in 1940, where Harry S. Truman stayed when he received the 1944 Democratic vice presidential nomination and where Dwight D. Eisenhower heard the news of his first-ballot 1952 Republican presidential nomination. In all, guests have included at least 12 U.S. presidents: Theodore Roosevelt, William Howard Taft, Woodrow Wilson, Warren Harding, Calvin Coolidge, Herbert Hoover, Franklin Roosevelt, Harry Truman, Dwight Eisenhower, John F. Kennedy, Richard Nixon, and Jimmy Carter. During Kennedy's visit he was informed of the Cuban Missile Crisis. ## Architecture The Blackstone Hotel was designed by architect Benjamin Marshall, of Marshall and Fox, in 1909. Sources vary as to the precise style in which Marshall designed the building. According to the Landmarks Division of the City of Chicago's Department of Planning and Development, the hotel's exterior and interior are considered an excellent example of neoclassical Beaux-Arts architecture; the nomination form for the building's listing on the U.S. National Register of Historic Places classifies the structure as distinctly Second Empire. However, the two styles are related, and the Blackstone Hotel demonstrates elements from both schools. The design was influenced by Marshall's trip to Paris, after which he completed the hotel. The Blackstone is a 22-floor rectangular structure and its structural steel frame is cased in tile and plaster fireproofing. On the exterior south and east (front) elevations is a one-story base of pink granite, with high arched openings; it supports the red brick- and terra cotta-trimmed building shaft. Above the granite base are four stories of white, glazed terra cotta. The large windows of the second and third floor, which once poured natural light into the lobby, ballroom, and restaurants, had mostly been covered for the Mayfair Theatre which was the home of the Chicago production of Shear Madness for 17 years from September 22, 1982 to November 11, 1999. The majority of the building rises as a 12-story shaft of red brick dotted with white, terra cotta window surrounds; above this section is a belt course of terra cotta and two stories of red brick. Above this, the original design included an intermediate terra cotta cornice topped by a cast-iron railing. This has been removed and replaced with red brick and white glazed brick, flush with the rest of the building. The mansard roof was originally decorated with small spires around the perimeter, and 2 very tall flagpoles. ## In popular culture In addition to its celebrity guests and its contributions to political parlance, the Blackstone has a place in popular culture. Among its uses in cinema, it hosted the banquet where Al Capone smashes a guest's head with a baseball bat in the Brian De Palma film The Untouchables, a party in The Hudsucker Proxy, and Tom Cruise's pre-pool tourney stay in The Color of Money. Also, the 1996–2000 television series Early Edition was set in this building, featuring a man (Kyle Chandler) who lives in the hotel and receives the newspaper a day in advance. The hotel is referenced as part of a major plot point in the play Cat on a Hot Tin Roof'' by Tennessee Williams and the accompanying film. ## See also - Blackstone Library - Chicago architecture ## Gallery [^1]:

Ontario Highway 405

Controlled-access highway in Ontario

King's Highway 405, also known as Highway 405 and the General Brock Parkway, is a 400-Series Highway in the Canadian province of Ontario connecting the Queen Elizabeth Way (QEW) near St. Catharines with the Lewiston–Queenston Bridge in the village of Queenston. It then crosses the Niagara River, where it encounters the international border with the United States and continues into New York as Interstate 190 (I-190). Designated and under construction by 1960, the short freeway was opened to traffic on September 11, 1963. On August 13, 2006, Highway 405 was dedicated the General Brock Parkway. The entire length of Highway 405 is patrolled by the Ontario Provincial Police (OPP). ## Route description Highway 405 serves to connect the northern end of I-190 in New York at the Lewiston–Queenston Bridge with the QEW, and therefore it follows a somewhat direct path between the two. Throughout its length, the highway gently climbs the Niagara Escarpment, reaching the top east of Stanley Avenue before crossing the Niagara Gorge. The highway is surrounded by forest to either side for most of its length, and the only settlement near it is the village of Queenston. As Highway 405 entirely lies within the Province of Ontario and is not subject to federal administration, its entire length is patrolled by the OPP. Highway 405 begins by diverging from the QEW at St. Catharines. It continues north-east for 1.5 kilometres (0.93 mi), then gently curves south-easterly. The opposing lanes, initially separated by a wide gap, converge towards each other to form a 15-metre (49 ft) grass median. The highway dips into a shallow gully, widens to five lanes (three eastbound, two westbound), and then curves northeast to pass north of a hydroelectric reservoir for the Sir Adam Beck Hydroelectric Generating Stations. The opposing lanes converge, with an Ontario Tall Wall separating them, and pass beneath Niagara Regional Road 102 (Stanley Avenue). The freeway's lone interchange is with Stanley Avenue, and traffic continuing east must cross the Lewiston–Queenston Bridge into the United States. The additional eastbound lane provided along this section is for the queueing of trucks. After passing the reservoir, the highway reaches the Canada Border Services plaza. It then passes over the Niagara Parkway and heads onto the Lewiston–Queenston Bridge over the Niagara River. The Highway 405 designation ends at the border with the United States, where it continues as I-190 towards Buffalo, New York. ## History Highway 405 was part of a network of divided highways envisioned by Thomas McQuesten in the mid-1930s to connect New York with Ontario. Though the Queen Elizabeth Way would cross the Niagara River by 1942 in Niagara Falls, Highway 405 and the Lewiston–Queenston Bridge would form the first direct freeway link between the neighbouring countries. Planning for both was underway by 1958, and construction began in 1960. The bridge was built at the same time as the freeway, though it opened several months earlier on November 1, 1962. Highway 405 was completed in August 1963 and officially opened to the public on September 11, 1963. In 1969, an interchange with Stanley Avenue was built and opened to traffic. In 2004, the eastern end of the freeway was modified to permit the queueing of trucks at the border, with the addition of one lane to the eastbound carriageway beginning at Stanley Avenue. The reconstruction of the toll plaza resulted in the gradual removal of the interchange with the Niagara Parkway, with the westbound off-ramp to the Parkway remaining open to traffic until December 4, 2006, thereafter westbound motorists have to head west to the Stanley Avenue exit and take Portage Road in order to reach the Parkway. The highway was named the General Brock Parkway on October 13, 2006 in honour of the War of 1812 hero, Major General Sir Isaac Brock, who died at the Battle of Queenston Heights. ## Exit list ## See also

Allie Brosh

American blogger, writer and comic artist

Allie Brosh (born May 18, 1985) is an American blogger, writer and comic artist best known for her blog in the form of a webcomic Hyperbole and a Half. Brosh grew up in small towns across the U.S. before attending the University of Montana. While there, Brosh started Hyperbole and a Half in 2009, on which she told stories from her life in a mix of text and intentionally crude illustrations. She has published two books telling stories in the same style, both of which have been New York Times bestsellers. Brosh lives with severe depression and ADHD, and her comics on depression have won praise from fans and mental health professionals. Her depression led her to withdraw from the internet and her blog for several years. ## Early life Brosh was raised in small towns—first in Auburn, California, then near Sandpoint, Idaho—which she says let her "be a little bit weirder". Brosh wanted to be an author from age eight, and described writing a book at age nine or ten, saying, "It was this epic monstrosity that filled three whole notebooks... the main plot was that there was a guy, and he fought lots of things. Anything I could think of – this guy fought it." She graduated in human biology from the University of Montana, where she also participated in track. Brosh has ADHD, which she says was more severe when she was a child. ## Hyperbole and a Half blog Brosh started Hyperbole and a Half in 2009 to avoid studying for her college physics final exam. She used Paintbrush software to draw the comic. When the blog was fully active, Brosh would upload a new entry every few weeks. In 2010, she said of her career as a writer, “With my crippling ADHD and impulsive decisions this is a perfect job for me. I make my own schedule." Hyperbole and a Half has been described both as a blog and as a webcomic. Each post is a mix of text and illustrations describing her life, including childhood stories, or general thoughts, such as her grammatical pet peeve of "a lot" being written as "alot". Brosh compared her combination of text and illustrations to stand-up comedy, saying, "[my writing] was more one-dimensional than stand-up comedy, in which you can rely on tone and facial expressions, body posture. And I wanted to find some way to commit that to the page. Drawing fixed all of those problems." The drawings, mainly stick figures which draw inspiration from rage comics, intentionally appear crude. Brosh scrutinized and refined her drawings, often doing 10 or more of each illustration, spending hours on facial expressions or body positions. Brosh said that each blog entry took around 24 hours to produce. The character representing Brosh loosely resembles a stick-figure with a pink dress, with wide-grinning, unfocused eyes and a triangle-shaped ponytail sticking up which she jokingly calls a shark fin. The character sometimes wears a grey hoodie when particularly depressed. Brosh said in an interview, "I feel very awkward a lot, and so I want to represent myself with this awkward thing, this thing that doesn't quite look like a person. Maybe it looks like some sort of bug or some sort of alien, because that's how I feel." ### Reception Brosh first saw her work become popular when one of her posts was linked from Reddit and she found her blog getting "like 100 times more traffic than I’d ever had." By 2013, she had over 380,000 Facebook likes and around 72 million website views and was getting five million unique visitors each month. In 2011 her blog was included in a list of the funniest sites by PC World, and in 2013 Advertising Age put Brosh in its yearly list of "most influential and creative thinkers and doers". A panel from one entry, captioned "clean all the things", became an internet meme. ## Depression and withdrawal In October 2011, Brosh made a blog post entitled "Adventures in Depression" in which she revealed that she had severe depression. After that post, Brosh's blog was inactive for more than a year. In May 2013, she made a long follow-up post chronicling her struggle with depression and thoughts of suicide. Her site got 1.5 million visits in a day, and the number of supportive comments from people indicating that they were worried about her surprised her. The two comics on depression became popular with people who could identify with her depiction of the mental disorder, and people who had never experienced depression said they understood it better. Her work was praised by critics and psychologists who appreciated her depiction of the illness. Jonathan Rottenberg, Associate Professor of Psychology at the University of South Florida, in Psychology Today, said, "I know of no better depiction of the guts of what it’s like to be severely depressed." Brosh said seeing how people related to her work helped her: "Depression can be such an isolating experience, and it's deceptive, you know, you think, 'Surely I'm the only one that's ever gone through this, or felt this depth of misery.'" ## First book According to The Globe and Mail, the success of the 2011 post "rocketed Brosh to serious virality, landing her a book deal." Brosh's first book, titled Hyperbole and a Half: Unfortunate Situations, Flawed Coping Mechanisms, Mayhem, and Other Things That Happened, was released in October 2013. It is written in the same style as her blog and includes some posts from the blog along with new stories. It was published by Touchstone, an imprint of CBS’s Simon & Schuster. The book's release was delayed as Brosh underwent major surgery for stage IV endometriosis. Brosh went on a six-city tour for the release, arranged by the publisher. She made appearances on radio and television and got support from fellow authors, including Elizabeth Gilbert. Before the book's publication, Brosh revealed its cover on Facebook and Twitter and participated in a marathon "ask-me-anything" session on Reddit. Hyperbole and a Half sold more than 350,000 copies in one month. It was on The New York Times Best Seller list (Advice, How-To & Miscellaneous) for 12 weeks and on the NPR Paperback Nonfiction Bestseller List for 31 weeks. The book was the American Booksellers Association’s No. 1 pick for November, and it won a Goodreads Choice Award in the Humor category. ## Subsequent withdrawal and second book After the first book's release, Brosh's online presence became sporadic again, and after a tweet in November 2014 disappeared again from social media. Brosh made a few public appearances; she appeared on WTF with Marc Maron in November 2014, on an episode of YouTube series Tabletop and on a Comic-Con panel in June 2015, and she gave a talk in 2016 on the JoCo Cruise. In August 2015 she announced that she was working on a new book called Solutions and Other Problems. The release date was postponed a number of times, and by 2018 it was marked "unavailable" on Amazon. In June 2020, the book reappeared on Simon & Schuster's website with a new cover and updated page count and description. In September 2020, Brosh publicly announced the book with a new post on her blog. Solutions and Other Problems was released on September 22, 2020. It became a New York Times Bestseller (Advice, How-To & Miscellaneous), and as of November 1, 2020 it had been on the list for four weeks. Ailsa Chang of NPR said that what was most striking about the work is that Brosh ricochets between zany moments and sad moments within pages, and a key theme of the book is showing compassion to yourself. ## Personal life As of 2013, Brosh lived in Bend, Oregon, with her husband, Duncan. She had married Duncan in December 2012, having been together for around eight years before that. In a post on Reddit in June 2020, Brosh said that since then she had divorced, then remarried, and that after moving around multiple states was living in Bend again. Brosh's younger sister Kaitlin, who had bipolar disorder, died in 2013. Brosh referred to her sister's death as a suicide. Brosh underwent major surgery for stage IV endometriosis in 2013. Brosh has said that she "lives like a recluse". Brosh has been active on Reddit and has said that she likes it because it was the place where her first posts got popular. When asked if she feels an obligation to update readers on her health, she said, "I have been trying to make myself be more responsible. There’s a part of me that wishes that I could sort of disappear and fade back into the mists when I need to. But I know that’s not how reality works. I’m trying not to disappear for quite so long, or as completely".

Wichita Linebacker

"Wichita Linebacker" is the third episode of the third season of the American mystery television series Veronica Mars, and the forty-seventh episode overall. Written by Phil Klemmer and John Enbom and directed by Harry Winer, the episode premiered on The CW on October 17, 2006. The series depicts the adventures of Veronica Mars (Kristen Bell) as she deals with life as a college student while moonlighting as a private detective. In this episode, Veronica helps a football player, Kurt Fenstermacher (Armie Hammer) retrieve his stolen playbook. Meanwhile, Piz (Chris Lowell) gains a job at the college radio station, and Veronica meets Dean O'Dell (Ed Begley, Jr.) for the first time after she gets in trouble for events related to the events that occurred in the previous episode, "My Big Fat Greek Rush Week". Phil Klemmer and John Enbom, the writers of the episode, found the episode difficult to write because they were not very familiar with American football. However, they decided to resolve the problem by making the episode as little about football as possible. "Wichita Linebacker" also features a guest appearance by Armie Hammer, as well as the first appearances by Begley, Jr. as Cyrus O'Dell and Ryan Devlin as Mercer Hayes. The episode received mixed to negative reviews, with criticism primarily focusing on the case of the week. ## Synopsis Veronica watches a football practice before she expresses her frustration with Logan (Jason Dohring). Later, she meets Weevil (Francis Capra), who is working at a car wash. Veronica is called into the Dean O'Dell's office, and he threatens her with expulsion if she does not give up some names in relation to the sorority marijuana scandal. Piz calls Veronica in to help a football player, Kurt Fenstermacher, retrieve his playbook, with Kurt's girlfriend, Trish (Lindsey McKeon) paying for the investigation. Veronica's only suggestion is that he gets a new one. Veronica convinces her father, Keith Mars (Enrico Colantoni), to hire Weevil as his new assistant at Mars Investigations. In an attempt to print a playbook for Kurt, Veronica disguises herself as a cheerleader, but fails to print one. After being called back into the Dean's office, Veronica is in the room during a debate between fraternity boys and feminists. Veronica goes back to the football player, and she hypothesizes that his girlfriend’s ex-boyfriend stole it. Weevil helps Keith at detective work, succeeding beyond Keith's expectations. Veronica talks to the ex-boyfriend before learning that Kurt's best friend is probably guilty. Veronica gets a disturbing phone call from Logan, so she tracks his cell phone, finding him gambling. Veronica and Logan have a fight before she learns that Keith had to stop working for a client when Weevil hit a suspect; Keith feels required to fire Weevil. Veronica tells Weevil the news before she gives him a job fixing the Dean’s car. Veronica confronts the best friend, but he’s not the perpetrator, and Veronica suddenly realizes that Trish is. Veronica lies to Trish about what happened to Kurt in order to elicit a true reaction from her; this plan works, and Veronica learns that Trish took the playbook in order to get him off the team. However, she lost it in the process. Kurt, Trish, and Veronica track it down to the ex-boyfriend, who gave the plays to another team to spite the couple. Veronica goes to Dean O’Dell and asks for an exchange: Veronica tells him that his son spray-painted his car, and he will hire Weevil. Veronica talks to the gambling owner, who acts strangely. Veronica tracks his car before removing the tracker later. Veronica talks to Trish, who says that Kurt left for Kansas. Weevil starts his new job as a Hearst janitor. Piz gets a job on a campus radio show, where he interviews both the feminists and the fraternity boys. In the middle of the show, the feminists get a text that says that Claire, the girl who the fraternity boys pointed out, was raped. Veronica and Logan reconcile their relationship and kiss. ## Production The episode was written by Phil Klemmer and John Enbom and directed by Harry Winer, marking both Klemmer and Enbom's eleventh writing credit, and Winer's third directing credit for the series. Klemmer and Enbom initially thought that they would be unable to write the episode because they didn't know very much about American football—so they tried to make the episode less about football. Enbom stated, "Rob just sort of handed [the episode] down. I think if you play strict attention, you'll find it isn't as footbally as an episode about a football player could possibly be. And I think that's why." The episode did not have the budget to hire a full football team, so several scenes were devoid of extras, including when Veronica meets one of the football players and when she breaks into the locker room. The episode features the first appearance of Dean Cyrus O'Dell (Ed Begley, Jr.), a recurring character for the third season. Initially, Michael McKean was slated to take the role, but within twelve hours of accepting the part, McKean decided to pass on Veronica Mars altogether. Thomas called this "the most depressing casting news in the world." One week later, Begley accepted the role. Both actors had recently appeared in A Mighty Wind. "Wichita Linebacker" also includes a guest appearance by Armie Hammer, who plays Kurt Fenstermacher, the football player whose playbook is stolen. Ryan Devlin makes his first appearance as Mercer Hayes, a Hearst College student who would be convicted in the serial rape case in the episode "Spit & Eggs". Despite having this role on Veronica Mars, Devlin would go on to play Duncan Kane, a role originated by Teddy Dunn before he left the show in "Donut Run", in the spinoff web series Play It Again, Dick. ## Reception ### Ratings In its original broadcast, "Wichita Linebacker" received 3.12 million viewers, ranking 84th of 92 in the weekly rankings. This figure was a slight increase from the previous episode, "My Big Fat Greek Rush Week", which was viewed by 2.96 million viewers. ### Reviews "Wichita Linebacker" received mixed to negative reviews. Eric Goldman of IGN gave the episode a 7.0 out of 10, indicating that it was "good". Despite this, he wrote a mixed review, opining that "as far as mysteries go, this was a so-so one," that "the Hearst campus rapist story just doesn't seem to be getting the proper weight it requires," and that "there's also some strange tonal issues currently." However, he praised the return of Weevil. Rowan Kaiser, writing for The A.V. Club, was also relatively critical, while focusing praise on Weevil's storyline. He referred to "Wichita Linebacker" as "what I would expect were the show not so ambitious. Here, Veronica isn't going to Hearst College, she's going to Television College, where things that are college-y happen." Television Without Pity gave the episode a "C+". "I don't think it's being overly harsh to say that this was not one of this show's stronger or more exciting episodes. The writing was oddly flat, in the first place, and the attention to detail was subpar as well." In addition, the reviewer criticized the show's treatment of its relationships. "That's one of the things that's made this show great in the past -- layering in complex and important relationships while not actually being a relationship-centered show. I only hope they go somewhere with the gambling thing, because otherwise, in my opinion, this episode will have been a total waste of time." Price Peterson of TV.com wrote that while he "liked it overall", he disliked the focus on Logan and Weevil, writing that he was "more than ready for Weevil to be written off the show" and, "I'm getting slightly tired of [Logan's] storylines. He seems to be alternating between woe-is-me hangdog and shifty bro liar. [...] Logan is not my favorite." On his blog What's Alan Watching, Alan Sepinwall wrote that "this was a fairly light-hearted hour, with the two darkest events -- Weevil beating up the abusive boyfriend and the blonde getting raped -- taking place off-screen. And if the purpose of doing shorter arcs was to avoid the loss of momentum that both the bus crash and the bridge stabbing suffered in the middle of last year, I'm not sure if it's working yet." BuzzFeed ranked the episode 47th on its ranking of Veronica Mars episodes.

French cruiser Desaix

French Dupleix-class armoured cruiser

The French cruiser Desaix was one of three Dupleix-class armored cruisers built for the French Navy (Marine Nationale) in the first decade of the 20th century. Designed for overseas service and armed with eight 164.7-millimeter (6.5 in) guns, the ships were smaller and less powerfully armed than their predecessors. Completed in 1904, Desaix was initially assigned to the Mediterranean Squadron (Escadre de la Méditerranée) before she was transferred to the Atlantic Division (Division de l'Atlantique) the following year, where she served as a flagship. The cruiser returned to the Mediterranean in 1906, but only remained there for a year before rejoining the Atlantic Division. Desaix was in reserve from 1909 to 1914. As tensions rose shortly before the beginning of World War I in August 1914, the ship was reactivated. When the war began she was assigned to defend Allied shipping in the English Channel and intercept German ships attempting to pass through. Transferred back to the Mediterranean in early 1915, Desaix spent the next year patrolling off the coast of the Ottoman Levant and in the central Mediterranean. To help protect Allied shipping from German commerce raiders, the ship was transferred to French West Africa in mid-1916 and remained there for the rest of the war. She served in the Far Eastern Division (Division navale de l'Extrême Orient) in 1919–1921 and was decommissioned shortly after her return. Desaix was sold for scrap in 1927. ## Design and description The Dupleix-class ships were much smaller and more lightly armed than the preceding Jeanne d'Arc. They measured 132.1 meters (433 ft 5 in) long overall with a beam of 17.8 meters (58 ft 5 in) and had a maximum draft of 7.46 meters (24 ft 6 in). The cruisers displaced 7,700 metric tons (7,578 long tons) as designed. They normally had a crew of 19 officers and 550 enlisted men, but accommodated 24 officers and 583 enlisted men when serving as a flagship. The sister ships' propulsion machinery consisted of three vertical triple-expansion steam engines, each driving a single propeller shaft, using steam provided by water-tube boilers, but the types of machinery differed between them. Desaix had four-cylinder engines fed by 24 Belleville boilers that were designed to produce a total of 17,100 metric horsepower (12,600 kW) intended to give them a maximum speed of 21 knots (39 km/h; 24 mph). Despite exceeding her horsepower rating, the ship failed to reach her designed speed during her sea trials on 17 November 1903, only attaining 20.6 knots (38.2 km/h; 23.7 mph) from 17,861 metric horsepower (13,137 kW). The sisters carried up to 1,200 metric tons (1,200 long tons; 1,300 short tons) of coal and could steam for 6,450 nautical miles (11,950 km; 7,420 mi) at a speed of 10 knots (19 km/h; 12 mph). ### Armament and protection The ships of the Dupleix class had a main armament that consisted of eight quick-firing (QF) Canon de 164.7 mm Modèle 1893–1896 guns. They were mounted in four twin-gun turrets, one each fore and aft of the superstructure and a pair of wing turrets amidships. The cruisers' secondary armament consisted of four QF Canon de 100 mm (3.9 in) Modèle de 1893 guns on single mounts in casemates in the hull. For defense against torpedo boats, they carried ten 47-millimeter (1.9 in) and four 37-millimeter (1.5 in) Hotchkiss guns, all of which were in single mounts. The ship were also equipped with two above-water 450-millimeter (17.7 in) torpedo tubes, one on each broadside. The nickel steel armor belt of the Dupleix-class cruisers covered the entire waterline length of the ship except for 18.9 meters (62 ft) of the stern. The belt armor was 102 millimeters (4 in) thick, although it reduced to 84 millimeters (3.3 in) in front of the forward turret. The curved protective deck had a total thickness of 42 millimeters (1.7 in) on the flat and 70 millimeters (2.8 in) on the upper part of the curved portion where it met the bottom edge of the belt armor. The face and sides of the gun turrets were protected by 110-millimeter (4.3 in) Harvey face-hardened armor plates. The armor protection of the gun barbettes was 120 millimeters (4.7 in) thick. The 100-millimeter guns were in unprotected embrasures in the hull. The sides of the elliptical conning tower were 100 to 120 millimeters thick. ## Service history Named after the French Revolutionary-era General Louis Desaix, the ship was ordered from Ateliers et Chantiers de la Loire on 28 December 1897. Construction was considerably delayed when the armament configuration was revised after the ship had already been laid down; the contract for Desaix was revised to account for the changes on 3 September 1899. The cruiser was laid down at their shipyard in Nantes in early 1899 and launched on 21 March 1901. Desaix began her sea trials on 6 August 1902 and she was finally commissioned on 5 April 1904. The ship cost 19,068,975 francs. Desaix was assigned to the Mediterranean Fleet's Light Squadron (Escadre légère) upon completion, together with her sister Kléber. Desaix relieved her other sister, Dupleix, as the flagship of the Atlantic Division in September 1905, but replaced Kléber in the Light Squadron when she returned to the Mediterranean in November 1906. Desaix rejoined the Atlantic Division in 1908, but was placed in reserve in 1909 and remained in that status for the next five years. ### World War I As tensions rose during the July Crisis of 1914, Desaix, Kléber and the other cruisers in reserve were reactivated. The sisters were assigned to the 3rd Light Division (3^e Division légère (DL)) of the 2nd Light Squadron (Escadre 2^e légère) which was tasked to defend the English Channel in conjunction with the British. The 3rd DL was on station in the western end of the Channel by 4 August, where they were tasked to intercept German shipping and provide distant cover to the smaller ships escorting the transports conveying the British Expeditionary Force to France. Improved defenses in the Channel and the stabilization of the front in early 1915 allowed the cruisers to be released from their tasks, so Desaix was assigned to the 3rd Squadron upon her arrival in the Eastern Mediterranean on 16 February. The squadron was tasked to patrol the area between Port Said, Egypt, and Alexandretta, Ottoman Syria. The cruiser was detached in May to assist the 1st Naval Army (1^re Armée Navale) in the Central Mediterranean with searching for German shipping near Italian ports; Desaix was tasked to watch Palermo, Sicily from 18 May. After 6 June, when the Italians agreed to take over that duty, the cruiser was assigned to reinforce the 2nd DL as it patrolled the area between Capo Colonna in southern Italy and the easternmost point of the Greek island of Crete. Later that month, she rejoined the 3rd Squadron and was tasked to help blockade the Ottoman coast from Latakia, Syria, to Mersin, together with the protected cruiser Guichen and the seaplane carrier Foudre. The ships helped to rescue a group of Armenian refugees who were being pursued by the Ottomans from the mountains near Antioch, Syria, on 12–13 September. The successes of German merchant raiders like Möwe in 1916 caused the Allies to transfer cruisers to the Atlantic to protect their shipping. Desaix joined her sisters in the newly formed 6th DL in April 1916, based in Dakar, French West Africa. To release manpower for higher-priority patrol boats, the 6th DL was reduced to two ships and renamed the Coast of Africa Division (Division navale de la côte d'Afrique) on 18 May 1917. The division was disbanded on 14 September when Dupleix was sent home to be placed in reserve. Desaix remained at Dakar for the rest of the war, tasked to escort convoys in the South Atlantic. The ship returned to France after the war, but was assigned to the Far Eastern Division in 1919. Departing in November her service there was uneventful and the ship arrived back in France on 31 March 1921 after which she was decommissioned. Desaix was stricken from the Navy List on 27 July, but was not sold for scrap until 1927.

New Jersey Route 34

State highway in central New Jersey, US

Route 34 is a state highway in the central part of the U.S. state of New Jersey. The route runs 26.79 mi (43.11 km) from an intersection with Route 35 and Route 70 (the former Brielle Circle) in Wall Township, Monmouth County, north to an intersection with U.S. Route 9 (US 9) in Old Bridge Township, Middlesex County. The route is a four-lane divided highway between its southern terminus and the north end of the Route 33 concurrency in Howell Township; along this stretch, the route intersects the Garden State Parkway and Interstate 195 (I-195)/Route 138 within a short distance of each other. North of Route 33, Route 34 is an undivided two- to four-lane road that intersects Route 18 in Colts Neck Township and Route 79 in Matawan. Route 34 passes through mostly suburban areas along its route. The route was legislated in 1927 to run from Route 35 (present Route 88) in Laurelton north to Route 4 (present Route 79) in Matawan. The current alignment of Route 34 north of Matawan was a part of Route 4 (and later US 9) until it became a part of Route 4A following a realignment of US 9 and Route 4. In 1953, Route 34 was extended north along Route 4A to end at US 9 in Old Bridge Township. Meanwhile, the southern terminus was cut back to its current location with the route south of that point becoming a part of Route 70. Since 1953, the southern portion of the route was widened into a divided highway and the Brielle Circle was replaced. ## Route description Route 34 begins at an intersection with Route 35 and Route 70 in Wall Township, Monmouth County, at the former Brielle Circle, heading to the northwest on a six-lane undivided road. A short distance past this intersection, the route becomes a four-lane divided highway that passes through suburban development with some woods. It passes over the Capital to Coast Trail and interchanges with County Route 524 Spur (CR 524 Spur) before reaching the Allenwood Circle, where Route 34 intersects CR 524. Past the Allenwood Circle, the road continues northwest to a partial interchange with the Garden State Parkway. This interchange has access to the northbound Garden State Parkway from northbound Route 34, to the southbound Garden State Parkway from southbound Route 34, and to both directions of Route 34 from the southbound Garden State Parkway. Immediately past this interchange, the road intersects CR 30 before coming to a cloverleaf interchange with I-195 and Route 138. Route 34 provides the missing movements between the southbound Garden State Parkway and I-195/Route 138. From here, the road passes through woodland before heading into commercial and industrial areas, where it passes by the Wall Stadium racetrack and the Monmouth Executive Airport. The route enters wooded residential and business areas where it intersects Belmar Boulevard and Megill Road, which are both distinct segments of CR 18. Route 34 continues north before it intersects Route 33 and CR 547 at the Collingwood Circle. At the traffic circle, Route 34 turns northwest to form a concurrency with Route 33 on a four-lane divided highway that passes businesses, crossing into Howell Township and passing over the Southern Secondary railroad line operated by the Delaware and Raritan River Railroad. The two routes eventually split, with Route 34 heading north on a two-lane undivided road. It passes through wooded areas of Naval Weapons Station Earle and enters Colts Neck Township. Upon leaving the grounds of Naval Weapons Station Earle, the route widens into a four-lane divided highway again and comes to a cloverleaf interchange with the Route 18 freeway. Past this interchange, Route 34 becomes a two-lane undivided road that passes development and Delicious Orchards before crossing CR 537. From here, the road heads past suburban neighborhoods and farmland, intersecting CR 54 before meeting CR 4. Route 34 forms a brief concurrency with CR 4 until the county route heads northeast on South Street. The route continues into wooded areas of homes, crossing into Holmdel Township, where it has a junction with CR 520. After this intersection, the road continues past homes and farms before turning northwest and entering Marlboro Township. Here, the road heads through wooded residential and commercial areas, briefly becoming a four-lane road, before it crosses into Aberdeen Township. In Aberdeen, Route 34 heads into business areas as it crosses CR 3. The road becomes a three-lane road with a center left-turn lane, forming the border of Matawan to the west and Aberdeen Township to the east. Upon passing under the Henry Hudson Trail, the route entirely enters Matawan, continuing northwest as four-lane Middlesex Street. Here, Route 34 intersects CR 516 and Route 79 and CR 516 Spur. Following these intersection, the road heads into residential and business areas, crossing over Lake Lefferts. Route 34 crosses into Old Bridge Township, Middlesex County, where it becomes a two-lane road, continuing through commercial areas. The route intersects CR 689, where it turns to the west and passes through areas of residences and businesses and reaches the CR 687 intersection. At the intersection with CR 699, Route 34 turns to the north and intersects another segment of CR 699 known as Spring Hill Road. The road continues north and ends at a partial interchange with US 9, with access to northbound US 9 and access from southbound US 9. Missing movements between northbound Route 34 and southbound US 9 and northbound US 9 and southbound Route 34 are provided by Perrine Road to the south. ## History The Holmdel and Middletown Point Turnpike was a turnpike chartered February 28, 1862 and ran between Holmdel Township and Middletown Point (now Matawan). The road's trajectory is now roughly followed by Route 34. In the 1927 New Jersey state highway renumbering, Route 34 was legislated to run from an intersection with Route 35 (now Route 88 in Laurelton, Ocean County, north to Route 4 (now Route 79) in Matawan, with the portion of current Route 34 north of that intersection legislated as part of Route 4. By the 1940s, US 9 was also designated along the present-day portion of Route 34 that was then a part of Route 4, this would later become Route 4A after US 9 and Route 4 were moved to a new alignment between Freehold and Cheesequake. In the 1953 New Jersey state highway renumbering, Route 34 was extended north along the alignment of Route 4A to end at US 9 in Cheesequake while the southern terminus was cut back to the Brielle Circle intersection with Route 35 and Route 70, the latter having replaced Route 34 south of this point. By 1969, Route 34 was widened into a divided highway as far north as Route 33. The Brielle Circle at the southern terminus of the route was converted into at-grade intersections with traffic lights in 2001. ## Major intersections ## See also

Gumball (video game)

1983 video game

Gumball is a video game written for the Apple II by Veda Hlubinka-Cook (credited as Robert Cook) and published by Broderbund in 1983. It was ported to the Atari 8-bit family, and Commodore 64. The player controls the valves of a maze-like machine to sort gumballs by color. Broderbund co-founder Doug Carlston conceived of the machine-sorting concept and Cook added the gumball concept and built the core gameplay within a week. A secret image was found three decades after the game's release. Reviewers separately noted the difficulty of the game's later stages, praised its comical elements, and commented on the social role of simulating mundane work. ## Gameplay Gumball is an action video game in which the player works in a factory as a gumball sorter and sorts gumballs by color as they flow through a maze-like processing machine. The player controls valves in the machine to divert the flow of individual gumballs towards bins of corresponding colors. If the player sorts incorrectly, the foreman walks onscreen and dumps the gumballs out of the bin. The player has a daily quota to meet by the end of the level's time limit. If successful, the player character receives a promotion; the player watches an animation of a worker walking home from the factory, and progresses to a more complex level, with more color options to sort and defective, explosive gumballs to deactivate. If unsuccessful in meeting the daily quota, the game ends and the player is left to restart from the beginning. The game requires a color television or monitor, and optionally works with a joystick or paddle controller. ## Development Veda Hlubinka-Cook wrote Gumball for publication by Broderbund in 1983. Co-founder Doug Carlston conceived the core concept of a machine that sorts based on color, and Veda Hlubinka-Cook expanded the concept with the gumball conceit. She spent a week designing the main processing machine, with its pipes and valves. Though she later returned to add more background detail, the original pipe design did not change. Most of Cook's time was spent programming the game's functions, such as the how individual gumballs move through the pipes. To make the game more interesting, Cook added the gumball bombs and tweaked the mechanism that caught them. She iterated through prototypes including a player-controlled claw and an item that traversed the pipes before finally deciding on crosshairs for the player to fire. Cook also added the game's time limit and the differences between levels. Closer to the end, Cook coded Gumball's title page and the animated transitions between levels. The game debuted at the June 1983 Consumer Electronics Show. ## Reception John Besnard reviewed the game for Computer Gaming World, and stated that "The graphics of 'Gumball' are delightful. Objects move smoothly in front of and behind each other, as if you just plugged a special graphics board into your Apple. In fact, it's worth catching a few gumballs in the wrong bins just to watch them tip over." David Stone reviewed the game for Computer Gaming World, and stated that "Gumball is fun for many of the same reasons as Spare Change Arcade: it has levels of increasing difficulty, it rewards you for mastering each level, and it requires some amount of strategy as well as timing to open and close the gates to fill the bins and meet your quota." Chris Browning of the Eugene, Oregon-based Atari Computer Enthusiasts wrote that Gumball was a good interlude between shoot-em-up games, but found that he lost interest when tasked with sorting four or more colors of gumballs. Compute!'s Gazette thought that Gumball was fun, and highlighted its "comical" elements, such as the factory manager emptying the player's bin when the player incorrectly sorts the wrong color into it. The magazine described Gumball as a "strategy-action" game and considered it a useful aid in developing faculties of logic and hand-eye coordination. David Hunter of Softalk asked whether the game was satirical commentary "on the Great American Dream of climbing the corporate ladder" depending on whether the factory work inculcated "good work habits" or "Disney-esque automatons". He wrote that the game had what corporate trainers would want: an introduction to repetitive tasks and a sense of nervous energy. Three decades later, Jason Koebler of Motherboard summarized that the game never became popular and that copies of it became rare. ## Legacy In 2016, an Apple II software cracker team found an Easter egg hidden by the game's creator 33 years prior. Cook had hidden a secret congratulations screen in the game for players who entered a specific keyboard key combination at a specific time and solved the resulting series of substitution ciphered clues. Cook congratulated the cracker team on Twitter. The crackers found the secret while working to preserve the game for the Internet Archive by removing its digital copyright protections. One of the crackers said that while most 1980s games could be cracked by automation, Gumball's protections, coded by Roland Gustafsson, were exceptional.

Milton C. Moreland

American academic administrator and archaeologist

Milton C. Moreland is an American academic administrator and archaeologist serving as the 21st president of Centre College in Danville, Kentucky. A graduate from the University of Memphis, Moreland taught for eight years at Huntingdon College and was a member of the faculty and administration for thirteen years at Rhodes College, serving for some time as the dean of faculty, vice president for academic affairs, and provost. In February 2020, he was announced as president of Centre College; he assumed office on July 1, 2020, succeeding John A. Roush, and was formally inaugurated in October 2021. ## Early life and education Moreland was born and raised in Boise, Idaho. He earned a Bachelor of Arts in history from the University of Memphis, where he graduated with honors. This was followed by a Master of Arts and PhD, both in religious studies, from Claremont Graduate University in Claremont, California. Moreland wrote his honors thesis on the Nag Hammadi library. ## Career Moreland began his teaching career in 1995. He taught at Huntingdon College as an assistant professor until 2003, when he joined the faculty of Rhodes College in Memphis, Tennessee, as an assistant professor of religious studies. He was eventually promoted to associate professor and full professor. He also served as the director of the Rhodes Institute of Regional Studies and chaired the archaeology program in addition to teaching archaeology. In December 2015, Rhodes announced that Moreland had been selected from a national search to be the college's vice president for academic affairs and the dean of faculty; he had been serving as dean on an interim basis for the previous 18 months. Moreland additionally served as the provost at Rhodes. He was presented with Rhodes's Jameson M. Jones Award for Outstanding Faculty Service on August 17, 2012. He also served on the senior staff of Sepphoris Regional Archaeological Project, located in Galilee, for upwards of two decades. Moreland's scholarship focuses on the New Testament and history of Christianity. Upon his departure from Rhodes, Dr. Katherine Clay Bassard was named his successor as provost and VP for academic affairs, effective July 1, 2020. On February 5, 2020, Moreland was announced as the 21st president of Centre College, succeeding John A. Roush, following a unanimous vote of the presidential search committee. He assumed office on July 1, 2020, and much of the beginning of his term took place during the COVID-19 pandemic. He was officially inaugurated in a ceremony held at the Norton Center for the Arts on October 14, 2021. Among those that spoke at the ceremony were Crit Luallen and Jacqueline Coleman, the former and incumbent lieutenant governors of Kentucky and graduates of Centre in 1974 and 2004, respectively. The first incoming class of Moreland's administration totaled 359 new students, bringing Centre's total enrollment for the 2020–21 academic year to 1,333 students. The renovation of Franklin W. Olin Hall, which began in summer 2019, was completed in time and opened to students at the beginning of the 2021 spring term, including the installation of a Foucault pendulum in the building's north stairwell. Moreland and the college announced a \$50 million project to build a new athletics center, including replacements for Boles Natatorium and Farris Stadium, in April 2021. In addition, the school added a business major in fall 2021. ## Personal life Moreland is married to his wife Dina, a former professional and national team racquetball player and pharmaceutical salesperson. She attended the University of Memphis, like Milton, and has been an elementary school teacher since 2003. The couple has two children.

Rex Williams

English former professional snooker and billiards player, 7-time world English billiards champion

Desmond Rex Williams BEM (born 20 July 1933) is a retired English professional snooker and billiards player. He was the second player to make an official maximum break, achieving this in an exhibition match in December 1965. Williams won the World Professional Billiards Championship from Clark McConachy in 1968, the first time that the title had been contested since 1951. Williams retained the title in several challenge matches in the 1970s, and, after losing it to Fred Davis in 1980, regained it from 1982 to 1983. He played a leading role in the re-establishment of the World Snooker Championship on a challenge basis in 1964, and lost twice to John Pulman, once in a single match and once in a series of matches played in South Africa. When the Championship reverted to being a knockout from 1969, he reached the semi-finals three times. In 1968 he initiated the revival of the Professional Billiards Players Association (known as the World Professional Billiards and Snooker Association from 1970). He chaired the association, barring a few weeks in 1983, until 1987, and again from 1997 to 1999. Williams was a successful junior player in both snooker and billiards, and became a professional in 1951 at the age of 18. At the 1986 Grand Prix, aged 53, he became the oldest player to reach a ranking tournament final. He lost the match 6–10 to Jimmy White after leading 6–4. He retired from competitive snooker in 1995, having achieved his highest ranking, 6th, in 1976/77. ## Career ### Junior career Williams was born in Halesowen on 20 July 1933. He started playing on a full-size billiard table at the age of 13 on a table installed at his father's printing works, and was coached by Kingsley Kennerley. He won the Midlands Boys Titles in both billiards and snooker. In 1948 he won the British Boys' (under-16) Championships at both snooker and billiards, and in 1950 he was the National Under-19 Billiards champion. He played an exhibition match against Joe Davis in 1949, winning the one 85–51 after receiving 21 start. In 1951, at 17 years old, he became the youngest winner of the English Amateur Snooker Championship (until Jimmy White in 1979), beating the 1939 champion Percy Bendon 6–1 in the final. He also won the 1951 National Under-19 Championships at both snooker and billiards. ### Early professional career Williams turned professional in 1951 at the age of 18, and entered the 1952 World Professional Match-play Championship. He met Alec Brown in the first round in a match over 61 frames played from 17 to 22 December 1951 at Darlaston, Staffordshire. Brown won comfortably, taking a winning 33–17 lead after the fifth day and eventually winning 39–22. Williams made his debut at Leicester Square Hall in early 1952, playing John Pulman in an exhibition match on level terms. Pulman won the six-day match 42–31. Williams then beat John Barrie 40–33 in another exhibition match, receiving 10 points each frame in the handicapped match. In May and early June 1952, Williams played in the qualifying competition for the 1952/1953 News of the World Snooker Tournament. In his first match he played 66-year-old Willie Smith and won 22–15. The qualifying was won by Jackie Rea who advanced to the main event. Williams met Kingsley Kennerley in the first qualifying round for the World Championship. Kennerley had already beaten him 23–14 in the News of the World qualifying and beat him again, this time 25–12. Albert Brown was ill for two of his matches in the News of the World Tournament and Williams played Fred Davis in a three-day exhibition match, in place of the planned second contest. Williams received a 14-point start but Fred Davis won the match 23–14. In March 1953, Williams played Joe Davis in an exhibition match. Williams received a 21-point handicap but Joe Davis won 43–30, scoring 4 centuries on the final day. Williams met Harry Stokes in the 31-frame qualifying round of the World Championship in early October 1953 and led 3–2 after the first session. Williams was then ill and the match was rearranged for a later date. The match was, however, later cancelled and Stokes advanced to the next round. ### 1960s revival of snooker In 1964, the Conayes £200 Professional Tournament was staged at the Rex Williams Snooker Centre in Blackheath, being the first commercially sponsored professional snooker event since 1960. Williams was one of the four competitors, along with Fred Davis, John Pulman and Jackie Rea. Pulman won the event. Williams was instrumental in the revival of the World Snooker Championship in 1964, obtaining sanction for the competition after taking the Billiards Association and Control Council (BA&CC) chairman Harold Phillips out to lunch. The championship was staged on a challenge basis, with the first match being scheduled between Pulman, the winner of the 1957 World Professional Match-play Championship, and Fred Davis. Pulman beat Davis 19–16. Later in 1964, Williams challenged Pulman for the title. The match was over 73 frames, played over 6 days from 12 to 17 October at Burroughes Hall. Williams led 8–4 at the end of the first day but Pulman won 11 of the 12 frames on the second day to lead 15–9. Pulman extended his lead to 31–17 after four days and won the match on the fifth day, taking a 37–23 winning lead. Pulman made a break of 109 in frame 57. The remaining 13 "dead" frames were played on the final day with Pulman finishing 40–33 ahead. Williams and Pulman met again in late 1965 in a series of short matches in South Africa, but Williams was unsuccessful again, losing 25 matches to 22. In one of these matches in East London in the Eastern Cape, Williams made a break of 142, breaking the World Championship record of 136 set by Joe Davis in 1946. This stood as the world championship record break until 1982, when Doug Mountjoy compiled a 145. In December 1965, during an exhibition match in Cape Town against Mannie Francisco, Williams followed Joe Davis as the second man to make a recognised 147 break. In 1967, Williams and Fred Davis played a 51 match series that was billed as the World Open Matchplay Snooker Challenge, even though no other entries were solicited. The following year, Williams convened a meeting of players at his house that led to the revival of the Professional Billiard Players Association (PBPA), with Williams as chairman. ### World professional billiards championship and the WPBSA Williams won the World Professional Billiards Championship seven times from 1968 to 1983, including a reign as champion from 1968 to 1980. In 1968, Williams was on a trip to Australia, and decided to travel to Auckland in New Zealand to play the reigning champion Clark McConachy for the billiards title, which had not been contested since McConachy's 1951 win. By this time, McConachy was 73, and his play was affected by his Parkinson's disease. Williams won the title 5,499–5,234, and made the match's highest break, 293. Leslie Driffield was nominated as the BA&CC challenger to Williams for the professional Billiards Championship. Williams declined to play Driffield within the five months time limit that the BA&CC had set, which expired on 7 July 1970, and forfeited the title, which was then contested between Driffield and Jack Karnehm in June 1971. On 1 October 1970, the PBPA disaffiliated from the BA&CC. The PBPA changed its name to the World Professional Billiards and Snooker Association on 12 December 1970, and declared itself the governing body for the professional game, recognising Williams as champion. Driffield and Karnehm were, at first, the only two professionals to recognise the BA&CC as continuing to have authority over the game. During the 1970s, Williams made four successful defences of his title, against Bernard Bennett in 1971, Karnehm in 1973, and Eddie Charlton in 1974 and 1976. He also won the 1979 UK Championship, which was the first time the event had been held since Fred Davis won in 1951. Williams beat Karnehm in the semi-final and John Barrie 2,952–2,116 in the final. He reached the 1980 and 1981 UK finals, both against Karnehm, losing 2,423–2,518 in 1980 and winning 1,592–1,112 in 1981. Williams lost the world title to Fred Davis in May 1980. Davis made a break of 583, the highest in the world championship for 46 years, in beating Williams 5,978–4,452. The championship then reverted to a knockout format, and was held in November 1980, with Williams losing to Mark Wildman in the semi-final. At the next staging, in 1982, Williams regained the title by beating Wildman 3,000–1,785 in the final; he retained it in 1983 with a 1,500–605 victory over Davis in the final. Unhappy at not being allowed to use a practice table near another match at the 1983 tournament, Williams had left the venue and returned late for his semi-final against Ray Edmonds, causing the match to start 48 minutes late. There were no rules in place for penalties for late arrivals, but following complaints to the WPBSA, Williams was fined £500 by the association, and resigned as chairman, but remained on the board. Three weeks later, he accepted the board's invitation to become chairman again. He continued as chairman until 1987, and took the role again from 1997 to 1999. In 2001, he was expelled from the Association following alleged fiduciary irregularities and asked to repay legal costs of £28,268, but was reinstated as a full member the following year. The Association apologised for its actions "unequivocally". ### Later professional career Williams reached the semi-final of the World Snooker Championship three times, losing to John Spencer in 1969, in 1972 to Alex Higgins 30–31 (having been four frames ahead with five left to play) and, in 1974, 7–15 to Graham Miles. He never won a World Championship match at the Crucible Theatre after it became the World Snooker Championship's venue in 1977, despite playing at the venue on eight occasions (a record he shares with Cliff Wilson). He recovered from 8–2 down to win 9–8 against Terry Griffiths in the first round of the 1978 UK Championship, in the future World Champion Griffiths' first match as a professional. Williams was the 1973 Pot Black runner-up, losing 33–99 to Charlton in the one-frame final. In the 1985–86 snooker season, Williams reached the semi-finals of the 1986 Classic and the last sixteen of two other ranking events, and after some years outside the elite top 16 ranked players, was ranked 16th for 1986/1987. This meant that he earnt a place in the Masters for the first time since 1977. He was beaten 1–5 by Cliff Thorburn in the first round of the 1987 event. During the 1986–87 snooker season, Williams became the oldest player to reach a world-ranking final when, aged 53, he lost 6–10 to Jimmy White at the 1986 Grand Prix, after having led 6–4. His run to the Grand Prix final included 5–1 wins over both Higgins and Steve Davis, and a 9–8 semi-final defeat of Neal Foulds. He finished the season ranked 12th. His last tournament as a professional snooker player was the 1995 World Championship, where he beat Steve Day and Chris O'Sullivan, before losing in the fourth qualifying round 3–10 to Nick Walker. His highest world ranking was 6th, in 1976/1977. He founded a cue-making company, Power Glide Cues, and in 1975 established Rex Williams Leisure, a snooker and pool table manufacturing and hire business. Stephen Hendry bought a Rex Williams signature cue for £40 when he was aged 13, and used it until it was broken in 2003, including during his seven world snooker championship wins. Williams was a commentator for snooker television broadcasts for the BBC from 1978 to 1984, and after that for ITV. His book Snooker : How to become a Champion was published in 1975, and republished with some amendments as How to play Snooker in 1982 and 1988, and as Snooker in 1984. Williams was awarded the British Empire Medal in the 2020 Birthday Honours for services to snooker and billiards. ## Performance and rankings timeline Post-war Modern era ## Career titles ### Junior snooker and billiards ### Amateur snooker ### Professional snooker: 5 finals (3 titles) ### Professional billiards ## Books ## See also

New York State Route 285

Former highway in New York

New York State Route 285 (NY 285) was a state highway in Oneida County, New York, in the United States. The southern terminus of the 6.87-mile (11.06 km) route was at an intersection with NY 69 west of the hamlet of Taberg in the town of Annsville. Its northern terminus was in the community of Thompson Corners, where it ended at a junction with County Route 67A (CR 67A) and CR 70. NY 285 was little more than a connector between NY 69 and Thompson Corners, as it did not pass through any other areas of interest. NY 285 initially extended from Taberg to the hamlet of Florence when it was assigned as part of the 1930 renumbering of state highways in New York. It was truncated to Thompson Corners c. 1935, but extended slightly in the 1960s when NY 69 was realigned to bypass Taberg. Ownership and maintenance of NY 285 was transferred to Oneida County on September 1, 1988, and the NY 285 designation was removed just over two months later. The route is now County Route 70A. ## Route description NY 285 began at an intersection with NY 69 southwest of the hamlet of Taberg in the town of Annsville. The route headed northward, intersecting with Main Street, which connected NY 285 to Taberg. Here, NY 285 turned to the northwest and became Taberg–Florence Road. Just outside Taberg, the route passed Saint Patrick's Cemetery, as well as the remains of an old Protestant cemetery situated directly across NY 285 from it. As it continued northwestward through a rural portion of Oneida County, NY 285 passed a junkyard near the intersection with Pond Hill Road. Past an intersection with Carlisle Road, NY 285 entered a state reforestation area. As such, the surrounding landscape became mostly forested areas. Near the center of the reforestation area, the highway intersected with Skinner Settlement Road (CR 85). After passing over Corkin Hill, NY 285 headed downhill into the town of Florence. After crossing into Florence, NY 285 remained in the reforestation area, and continued towards Thompson Corners on a linear, northwesterly routing. It passed Greely Cemetery, then continued to Thompson Corners, a very small community in southeastern Florence. NY 285 terminated here at an intersection with Empeyville Road (CR 67A) and Wolcott Hill Road (CR 70). CR 70 turned northwest at this junction to follow NY 285's right-of-way to the hamlet of Florence and eventually to the Oneida County line. ## History NY 285 was assigned as part of the 1930 renumbering of state highways in New York to a highway connecting NY 69 (Main Street) in Taberg to the isolated hamlet of Florence in the town of the same name via Thompson Corners. The route was truncated southeastward to Thompson Corners c. 1935. In the early 1960s, NY 69 was rerouted to follow a new purpose-built highway that bypassed most of Taberg to the south. Most of NY 69's original alignment through the hamlet was transferred to the town of Annsville; however, its former western approach into Taberg along Taberg Road was realigned to meet the bypass and became a short extension of NY 285. On September 1, 1988, ownership and maintenance of NY 285 was transferred from the state of New York to Oneida County. The portion of the exchange relating to NY 285 was described in New York State Highway Law as follows, with annotations in brackets: > ... to transfer to the county of Oneida for future maintenance as part of the county highway system in Oneida and to issue official orders of abandonment of those portions of highway described as follows: "beginning at a point on or near state highway five thousand one hundred thirty-nine [NY 69], west of the hamlet of Taberg, thence running generally northwesterly to a county highway in or near the hamlet of Thompson Corners. In return, the state of New York assumed maintenance over a portion of River Street (CR 32) that connected NY 69 in Oriskany to NY 49 in Marcy. This highway became NY 922E, an unsigned reference route. Meanwhile, the NY 285 designation remained in place until November 4, 1988, when it was officially removed from the highway. The former routing of NY 285 became CR 70A, a spur of the pre-existing CR 70. ## Major intersections ## See also - List of county routes in Oneida County, New York

Captain America: White

Comic book series

Captain America: White is a six-issue Marvel Comics limited series written by Jeph Loeb and illustrated by Tim Sale. An homage to Captain America comics from the Golden Age of Comic Books, the series focuses on the relationship between Steve Rogers / Captain America and his sidekick Bucky. It is the fourth and final comic in Loeb's and Sale's "Color" series, following Daredevil: Yellow, Spider-Man: Blue, and Hulk: Gray. The series is noted for its extensive production delays, with seven years elapsing between the release of the first and second issues. ## Plot White is narrated by Steve Rogers as he recounts a mission with his partner James Buchanan "Bucky" Barnes during World War II. While in basic training at Fort Leigh, Virginia, Barnes discovers that Rogers is Captain America after walking in on Rogers changing into his costume. Rogers trains Barnes as his sidekick, who takes a diminutive of his middle name – "Bucky" – as his alias. They are deployed to North Africa in December 1941, where they extract Nick Fury and the Howling Commandos before being shipped to Europe. While en route, their plane is shot down over the Atlantic Ocean. Barnes saves Rogers from drowning by detaching Rogers' shield and allowing it to sink to the bottom of the ocean; the shield is later recovered and returned to Rogers by Namor of the Invaders. Rogers, Barnes, Fury and the Commandos make landfall in Occupied France, where they repel a Nazi military unit and join with Fury's allies in the French Resistance. They proceed to Paris to confront Red Skull, seeking to thwart his plan to raid and destroy the Louvre. Believing Rogers has lost faith in him after losing his shield, Barnes secretly leaves to confront Red Skull alone. Upon learning of Barnes' plan, Rogers abandons the Louvre mission to confront Red Skull at his base in a zeppelin circling the Eiffel Tower. Red Skull, who has captured Barnes, issues Rogers an ultimatum: save the Eiffel Tower and its surrounding environs, which he has armed with explosives, or save Barnes. Rogers chooses to rescue Barnes, unintentionally destroying the zeppelin and Red Skull's detonator in the process, and escapes to safety with Barnes. Many years later, shortly after having been rescued from suspended animation by the Avengers, Rogers is visited by Fury. They travel to Rogers' and Barnes' graves at Arlington National Cemetery, which are marked with statues of the two men. Rogers destroys his own statue with his shield, and laments Barnes' death. ## Background and creation ### Development White is the fourth comic in Loeb and Sale's Color series, following Daredevil: Yellow, Spider-Man: Blue, and Hulk: Gray. Comics in the series broadly focus on the formative years of a given character, as juxtaposed against a personal loss they have suffered. Loeb had conceived of a story about Rogers' grief over Barnes' death prior to the publication of The Winter Soldier, the 2005 run of issues in Captain America (Volume 5) that revealed that Barnes was still alive. Consequently, Loeb set the non-WWII portions of the comic in a period of continuity prior to the events of The Winter Soldier. Sale illustrated White using a mix of charcoal and ink wash, drawing inspiration for the look of the series from Two-Fisted Tales by Harvey Kurtzman and William Gaines, Foxhole by Jack Kirby, and the political cartoons of Bill Mauldin. Sale expressed a desire to maintain a high level of historical accuracy in early interviews about the series, but later commented that maintaining strict historical accuracy "drove [him] crazy for a while" and caused him to shift priorities for the series' art. ### Release and delays White was announced in March 2008 at Wizard World Los Angeles. Issue \#0 was published on July 9, 2008, making White one of the first Marvel Comics titles to be authored by Loeb following a period of exclusivity with DC Comics. \#0 was published under the Marvel Knights imprint, though subsequent issues would be published with the generic Marvel trade dress. The series subsequently languished in development hell due to Loeb's involvement with Marvel Television and Sale's scarce availability for sequential comic work. While the majority of the series' art was completed in 2008, scripting would not be completed until 2011. In a 2009 panel at Long Beach Comic Con, Loeb stated that the comic was further delayed by his and Sale's desire to complete all six issues before going to print. Unsuccessful attempts were made to time the release of White to the release of the 2011 film Captain America: The First Avenger, and the series remained in development through 2014. At a retailer breakfast at C2E2 in April 2015, a September 2015 release date was announced for Captain America: White \#1. The issue was released as a double-sized issue containing a re-print of Captain America: White \#0. The series maintained an irregular publishing schedule, with the final issue released on December 30, 2015. The series was collected into a deluxe hardcover released on February 17, 2016 and a trade paperback released on October 26. A Marvel Omnibus containing all four entries in the Color series was released on December 5, 2018. ## Themes and analysis Subtitles for stories in the Color series each represent a double meaning, i.e. yellow in Daredevil: Yellow represents both the color of Daredevil's original costume and the color typically associated with cowardice. In White, the color is initially used in reference to black and white hat symbolism in film, as symbolic of Rogers's belief in the moral righteousness of his decision to fight in the war; he comments that "in the Westerns, we wore the white hats". Its secondary meaning refers to Rogers' struggle to apply this absolutism to a morally gray world and his ultimate rejection of black-and-white thinking, as manifested in his decision to save Barnes over the city of Paris. While previous entries in the Color series focus on romantic relationships – Matt Murdock and Karen Page in Yellow, Peter Parker and Gwen Stacy in Blue, and Bruce Banner and Betty Ross in Gray – White is distinct in its focus on the platonic partnership between Rogers and Barnes. Loeb has stated that he wished to depict Rogers and Barnes as having a close-in-age fraternal relationship, in contrast to Golden Age comics that depicted Rogers as a much older father figure to Barnes. Conversely, Marvel Cinematic Universe screenwriters Christopher Markus and Stephen McFeely comment on the pseudo-romantic nature of Rogers' and Barnes' relationship in White in the foreword to the deluxe hardcover edition of the series: > No adventure is complete without a love story. And, yes, these books have one — the longest, most tortured one in Marvel history, in fact. We're talking about Steve and Bucky, without smirking or innuendo or raised eyebrows. Platonic though the relationship may be, from the meet cute to the tragic separation, their bond has all the elements of a classic romance. These two men love each other — as any pair of friends who faced exclusion, combat, inhumanity, and death would. Their bond stretches across half of the twentieth century. [...] Just as Jeph and Tim's earlier Daredevil: Yellow, Spider-Man: Blue, and Hulk: Gray all dealt with the major love interests in the heroes' lives, so too does Captain America: White. Steve and Bucky are each other's soulmate, if you will, because no one on Earth understands what either of them has been through as well as the other does. ## Reception ### Critical response White received positive reviews. Chris Galvin called the series "enjoyable the whole way through" and "a remarkable read" in a review of the final issue for ComicsVerse. Nerdist gave the series a 5 out of 5 rating, calling it a "true work of art" and offering praise for Sale and Dave Stewart's artwork. Sale's artwork was similarly commended by Jesse Schedeen in his review of issue \#1 of White for IGN, who praised the series' Golden and Silver Age influences, but felt that the story was "a little too hokey". Conversely, in a review of issue \#0 for Comic Book Resources, Augie De Blieck Jr. praised Loeb's storytelling and questioned whether Sale's stylized art was a good fit for a Captain America story. Newsarama gave the final issue in the series a 7 out of 10 rating, calling the series "well-paced and beautifully drawn, but ultimately empty", surmising White as "another beautiful but inconsequential Cap story". ### Accolades In 2009, Dave Stewart won an Eisner Award for Best Coloring for his work on White and other titles. ## Related media Sgt. Fury & his Howling Commandos: Shotgun Opera, a one shot that serves as a companion to White, was published by Marvel in 2009.

Atlantic Wall

Extensive system of coastal fortifications built by Nazi Germany

The Atlantic Wall (German: Atlantikwall) was an extensive system of coastal defences and fortifications built by Nazi Germany between 1942 and 1944 along the coast of continental Europe and Scandinavia as a defence against an anticipated Allied invasion of Nazi-occupied Europe from the United Kingdom, during World War II. The manning and operation of the Atlantic Wall was administratively overseen by the German Army, with some support from Luftwaffe ground forces. The Kriegsmarine (German Navy) maintained a separate coastal defence network, organised into a number of sea defence zones. Hitler ordered the construction of the fortifications in 1942 through his Führer Directive No. 40. More than half a million French workers were drafted to build it. The wall was frequently mentioned in Nazi propaganda, where its size and strength were usually exaggerated. The fortifications included colossal coastal guns, batteries, mortars, and artillery, and thousands of German troops were stationed in its defences. Today, ruins of the wall exist in all of the nations where it was built, although many structures have fallen into the ocean or have been demolished over the years. ## Background World War II in Europe began on 1 September 1939, with Nazi Germany's invasion of Poland. Two days later, the UK and France declared war on Germany. Poland's geographical location, however, prevented the Allies from intervening directly. Four weeks into the attack, the Germans had successfully occupied Poland. Less than a month after this victory, Adolf Hitler issued a directive stating that Germany must be ready for an offensive through France and the Low Countries. However, the Oberkommando der Wehrmacht (German high command; OKW) was convinced that preparations would take at least until the following year. After furious arguments, Hitler reluctantly agreed to wait. In May 1940, three massive German army groups overran France and the Low Countries in little more than six weeks. ## History ### Creation Prior to the Atlantic Wall decision, following a number of commando raids, on 2 June 1941 Adolf Hitler asked for maps of the Channel Islands. These were provided the next day and by 13 June 1941 Hitler had made a decision. Ordering additional men to the Islands and having decided the defences were inadequate, lacking tanks and coastal artillery, the Organisation Todt (OT) was instructed to undertake the building of 200–250 strong points in each of the larger islands. The plan was finalised by the OT and submitted to Hitler. The original defence order was reinforced with a second dated 20 October 1941, following a Fuhrer conference on 18 October to discuss the engineers' assessment of requirements. The permanent fortification of the Channel Islands was to make them into an impregnable fortress to be completed within 14 months. Festungspionierkommandeur XIV was created to command the project of fortifying the Channel Islands. It was six months later on 23 March 1942 that Hitler issued Führer Directive No. 40, which called for the creation of an "Atlantic Wall". He ordered naval and submarine bases to be heavily defended. Fortifications remained concentrated around ports until late in 1943, when defences were increased in other areas. This decision required the army engineers and the OT to organise quickly. Massive supplies of cement, steel reinforcing and armour plate would be required and everything would need to be transported. Nazi propaganda claimed that the wall stretched from the cape of Norway down to the Spanish border. ### Regelbau The Regelbau (standard build) system used books of plans for each of over 600 approved types of bunker and casemate, each having a specific purpose, having been updated as enemy constructions were overrun and examined, even testing some to destruction for effectiveness. They incorporated standard features, such as an entrance door at right angles, armoured air intake, 30-millimetre (1.2 in) steel doors, ventilation and telephones, internal walls lined with wood, and an emergency exit system. There were over 200 standardised armour parts. The standardisation greatly simplified the manufacture of equipment, the supply of materials and the budgetary and financial control of the construction as well as the speed of planning for construction projects. To offset shortages, captured equipment from the French and other occupied countries armies were incorporated in the defences, casemates designed for non-German artillery, anti tank and machine guns and the use of turrets from obsolete tanks in tobrukstand pill boxes (tobruk pits). ### Organisation Todt Organisation Todt (OT), formed in 1933, had designed the Siegfried Line during the prewar years along the Franco-German border. OT was the chief engineering group responsible for the design and construction of the wall's major gun emplacements and fortifications. The OT supplied supervisors and labour as well as organising supplies, machinery and transport to supplement the staff and equipment of construction companies. Many of them were German, however construction companies in occupied counties bid for contracts. Companies could apply for OT work or could be conscripted. Companies failing to complete their work on time, which was always possible as the OT controlled the material and manpower of each firm, could find themselves closed down, or more likely fined, or taken over or merged with another firm to make a more efficient larger unit. Successful firms however could make attractive profits. The OT obtained quotes for necessary works and signed contracts with each construction company setting out the price and terms of the contract, such as bonus payments for efficiency, including the wage rates and bonus payments for OT workers (which depended on their nationality and skill). There could be several construction companies working on each site. Labour comprised skilled volunteers, engineers, designers and supervisors, who were paid and treated well. Second came volunteer workers, often skilled technicians, such as carpenters, plumbers, electricians and metal workers. Again, these workers were paid, took holidays and were well treated. Next came unskilled forced labour, paid very little and treated quite harshly. Lastly came effective slave labour, paid little, badly fed and treated very harshly. The OT ran training courses to improve labour skills. Massive numbers of workers were needed. The Vichy regime imposed a compulsory labour system, drafting some 600,000 French workers to construct these permanent fortifications along the Dutch, Belgian, and French coasts facing the English Channel. Efficiency of the OT decreased in late 1943 and 1944 as a result of manpower pressures, fuel shortages and the bombing of worksites, such as V-weapons sites, where some volunteer workers refused to work in such dangerous areas. OT Cherbourg in January 1944 dealt with 34 companies with 15,000 workers and 79 sub contractors. Daily, weekly and monthly reports showing progress, work variations, material used, stocks of material, labour hours used per skill type, the weather, equipment inventory and quality, level of supervision, employee absences, staffing levels, deaths and problems experienced all had to be filed with the OT. ### British attacks Throughout most of 1942–43, the Atlantic Wall remained a relaxed front for the Axis troops manning it, with only two large-scale British attacks. Operation Chariot, launched near St Nazaire in March 1942, successfully destroyed German pumping machinery for, and severely damaged, the Normandy dry dock and installations. The second attack was the Dieppe Raid, launched near the French port of Dieppe in August 1942 to test the German defences and provide combat experience for Canadian troops. The Germans were defeated at St. Nazaire, but had little difficulty in repulsing the attack at Dieppe, where they inflicted heavy casualties. Although the Dieppe raid was a disaster for the Allies, it alarmed Hitler, who was sure an Allied invasion in the West would shortly follow. Following Dieppe, Hitler gave Field Marshal Gerd von Rundstedt, the overall German Commander-in-Chief in the West, 15 further divisions to shore up the German positions. ### Reorganisation Early in 1944, with an Allied invasion of Nazi-occupied Europe becoming ever more likely, Field Marshal Erwin Rommel was assigned to improve the wall's defences. Believing the existing coastal fortifications to be entirely inadequate, he immediately began strengthening them. Rommel's main concern was Allied air power. He had seen it first-hand when fighting the British and Americans in North Africa, and it had left a profound impression on him. He feared that any German counterattack would be broken up by Allied aircraft long before it could make a difference. Under his direction, hundreds of reinforced concrete pillboxes were built on the beaches, or sometimes slightly inland, to house machine guns, antitank guns, and light and heavy artillery. Land mines and antitank obstacles were planted on the beaches, and underwater obstacles and naval mines were placed in waters just offshore. Little known was that touch sensitive mines were placed atop the beach obstacles. The intent was to destroy the Allied landing craft before they could unload on the beaches. ### D-Day By the time of the Allied invasion, the Germans had laid almost six million mines in Northern France. More gun emplacements and minefields extended inland along roads leading away from the beaches. In likely landing spots for gliders and parachutists, the Germans emplanted slanted poles with sharpened tops, which the troops called Rommelspargel ("Rommel's Asparagus"). Low-lying river and estuarine areas were intentionally flooded. Rommel believed that Germany would inevitably be defeated unless the invasion could be stopped on the beach, declaring, "It is absolutely necessary that we push the British and Americans back from the beaches. Afterwards it will be too late; the first 24 hours of the invasion will be decisive." ## Channel Islands The Channel Islands were heavily fortified, particularly the island of Alderney, which is closest to Britain. Hitler had decreed that one-twelfth of the steel and concrete used in the Atlantic Wall should go to the Channel Islands, because of the propaganda value of controlling British territory. The islands were some of the most densely fortified areas in Europe, with a host of Hohlgangsanlage tunnels, casemates, and coastal artillery positions. However, the Channel Islands lacked strategic significance and the Allies bypassed them when they invaded Normandy. As a result, the German garrisons stationed on the islands did not surrender until 9 May 1945—one day after Victory in Europe Day. The garrison on Alderney did not surrender until 16 May. Because most of the German garrisons surrendered peacefully, the Channel Islands are host to some of the best-preserved Atlantic Wall sites. The commander in Guernsey produced books giving detailed pictures, plans and descriptions of the fortifications in the island, Festung Guernsey. ## Fortresses Many major ports and positions were incorporated into the Atlantic Wall, receiving heavy fortifications. Hitler ordered all positions to fight to the end, and some of them remained in German hands until Germany's unconditional surrender. Several of the port fortresses were resupplied by submarines after being surrounded by Allied Forces. The defenders of these positions included foreign volunteers and Waffen-SS troops. ## Preservation ### France Many French construction companies benefited financially from helping construct the Atlantic Wall; these companies were not penalised during the post war period. Immediately after the war, there was little interest in preserving the wall due to the negative memories associated with the Nazi occupation. Some of the beach fortifications have toppled or are underwater, while those further inland still exist mainly due to their location. One of the best preserved parts is the Todt Battery. In 2011, renewed efforts to preserve the wall were spearheaded by organisations in Germany, the Netherlands, and the United Kingdom. The question has been raised over whether France should declare the wall a National Monument to ensure it is preserved; however no government so far has envisaged this. ### Elsewhere Although the defensive wall was never fully completed, many bunkers still exist near Ostend, Channel Islands, Scheveningen, The Hague, Katwijk, Noordwijk, Den Helder, and in Scandinavia (Denmark and Norway specifically). ## See also - British anti-invasion preparations of the Second World War - Czechoslovak border fortifications - Decauville wagon used in the construction of the wall

MacGillycuddy's Reeks

Mountain range in Kerry, Ireland

MacGillycuddy's Reeks () is a sandstone and siltstone mountain range in the Iveragh Peninsula in County Kerry, Ireland. Stretching 19 kilometres (12 miles), from the Gap of Dunloe in the east, to Glencar in the west, the Reeks is Ireland's highest mountain range, and includes most of the highest peaks and sharpest ridges in Ireland, and the only peaks on the island over 1,000 metres (3,300 feet) in height. Near the centre of the range is Carrauntoohil, Ireland's highest mountain at 1,038.6 metres (3,407 ft). The range was heavily glaciated which carved out deep corries (e.g. the Eagle's Nest), U-shaped valleys (e.g. Lough Coomloughra), and sharp arêtes and ridges (e.g. the Beenkeragh Ridge). The range, part of the Reeks District, is a destination for mountain walkers and climbers and includes some of Ireland's most regarded walking routes such as the 15–kilometre Coomloughra Horseshoe, and the 26-kilometre MacGillycuddy's Reeks Ridge Walk that traverses the full range; it is estimated that over 140,000 people visit the range each year. The entire range is in private ownership; however, reasonable access is given for recreational use. ## Geology MacGillycuddy's Reeks are composed of sandstone particles of various sizes, which are collectively known as the Old Red Sandstone. The rocks date from the Upper Devonian period (310–450 million years ago) when Ireland was in a hot equatorial setting. During this 60 million year period, Ireland was the site of a major basin, known as the Munster basin, and the counties of Cork and Kerry were effectively a large alluvial floodplain. Chemical oxidation stained the material with a purple–reddish colour (and green in places from chlorination), still visible today. There are virtually no fossils in Old Red Sandstone. The composition of Old Red Sandstone is variable and contains quartz stones, mudstones, siltstones, and sandstone particles (boulders of conglomerate rock containing quartz pebbles are visible throughout the range). The Reeks were also subject to significant glaciation which led to fracturing of the rock, and resulted in deep corries (e.g. the Eagle's Nest), U-shaped valleys (e.g. Lough Coomloughra), and sharp arêtes and ridges (e.g. the Beenkeragh Ridge). ## Geography MacGillycuddy's Reeks are variously described as consisting of two main sections, containing all ten of the Reeks that are above 3,000 ft: The Eastern Reeks meet the Coomloughea Reeks at the col of the Devil's Ladder, a popular ascent route for Carrauntoohil. MacGillycuddy's Reeks contains the three peaks in Ireland which are over 1,000 metres (3,300 feet) in height, namely: Carrauntoohil, Ireland's highest mountain at 1,038.6 m (3,407 ft), followed by Beenkeragh at 1,008 m (3,307 ft) and Caher at 1,000 m (3,300 ft). The range contains eleven of the fourteen peaks in Ireland that are over 3,000 ft (910 m) in height, and meet the Vandeleur-Lynam classification of a mountain—peaks with a prominence over 15 m (49 ft). All but one of these eleven 3,000 ft peaks, namely Cnoc an Chuillinn East Top, are amongst the list of thirteen Irish Furths—peaks which meet the Scottish Mountaineering Club's criteria for a Munro, and they are therefore also known as Irish Munros. There are 29 peaks in the range above 100 m (330 ft) in height. The range contains 14 Irish Hewitts (height above 2,000 ft and prominence above 30 metres), and 16 Irish Arderins (height above 500 metres and prominence above 30 metres). The range is also known for its sharp aretes, including The Bones arete, more famously known as the Beenkeragh Ridge, and The Big Gun arete. A feature of the range is the modest topographic prominence, or "drop" between many of its peaks. Only two of the eleven Reeks over 3,000 ft meet the Marilyn classification of a mountain (a prominence above 150 metres), namely Carrauntoohil and Cnoc na Péiste. The only Reek that meets the P600 classification (a prominence above 600 metres), is Carrauntoohil itself. The combination of high peaks and low prominence, means the ridges between the peaks are at a sustained height (e.g. why the prominence is so modest), which has contributed to the popularity of ridge walking in the Reeks, particularly, the Coomloughra Horseshoe, and the MacGillycuddy's Reeks Ridge Walk, and the term, "Ireland's highest mountain range". ## Ownership The entire range is held in private ownership, both in individually owned freehold parcels in the lower reaches and in commonly owned, open upland zones (‘commonage’). A State-sponsored report into access for the range in December 2013 titled MacGillycuddy Reeks Mountain Access Development Assessment (also called the Mountain Access Project, or MAP), mapped the complex network of land titles. Unlike many other national mountain ranges, the MacGillycuddy's Reeks are not part of a national park or a trust structure. The private ownership has led to issues around the upkeep of popular paths in the Reeks, most particularly the erosion of the Devil's Ladder path, which is used to summit Carrauntoohil; and various car-parks and bridges used by climbers. The 2013 MAP report noted the importance of safety in light of the increasing climbers and walkers to the Reeks. The MAP report stated that Kerry Mountain Rescue ("KMR") logged 17 fatalities on the Reeks between 1966 and 2000, or about one every second year, but since 2000, KMR had been logging approximately 2 fatalities per annum. In 2019 the Irish Times reported that the MacGillycuddy Reeks Mountain Access Forum, a cross-body group of landowners, commercial users and public access and walking groups set up in 2014 with the aim of "protecting, managing and sustainably developing the MacGillycuddy's Reeks mountain range, while halting and reversing the obvious and worsening path erosion", had achieved some success laying down new pathways in the Hag's Glen approach to Carrauntoohil; however, the Irish Times still wondered, "Should the Kerry reeks be a national park?". ## Naming The name of the range is , which is shortened in the Irish form to , meaning "The Black Stacks". However, in the English form, the name is translated as "MacGillycuddy's Reeks" (the translation used in Gasaitéar na hÉireann). The English name is sometimes incorrectly written as "The MacGillycuddy's Reeks", "MacGillycuddy Reeks", or "Macgillycuddy's Reeks". The MacGillycuddy () were a sept, or branch, of the O'Sullivan Moore clan. The MacGillycuddy is recorded as being one of a smaller number of Gaelic chieftains whose lands were returned post the Cromwellian confiscations, which explains why the name survives to this day. The MacGillycuddy family tomb is at Kilgobnet (Kerry), between the mountains and Killorglin. The clan chief, McGillycuddy of the Reeks, owned land in this part of Munster until the end of the 20th century. The word reek is a Hiberno-English version of the English word rick, meaning a stack. ## Recreation ### Visitors Jim Ryan's 2006 book on the Reeks, Carrauntoohil and MacGillycuddy's Reeks: A Walking Guide to Ireland's Highest Mountains, stated that there were 25,000 annual visitors to the Reeks. The 2013 MAP report quoted Ryan's figures, which were cited in the MAP's Terms of Reference, but stated that: "The Reeks are accessed by at least 25,000 recreational users per annum. It is highly likely that the numbers are a factor of 4 times higher based on observation of the year-round level of usage – but data is required to ascertain the visitor numbers." It was estimated that 125,000 visitors entered the range in 2017 from footfall at three main access points, and that 140,000 entered in 2018 by recording footfall at four main access points. ### Hill walking The most common reason for visiting the Reeks is to climb Ireland's highest mountain, Carrauntoohil. The popular route starts from Cronin's Yard () and enters the Hag's Glen to climb the Devil's Ladder (the col between Carrauntoohil and Cnoc na Toinne), from which the summit is accessed. A more challenging route is via the Hag's Tooth Ridge which circles the Eagle's Nest, and takes in Beenkeragh, and the Beenkeragh Ridge. MacGillycuddy's Reeks is particularly regarded for the quality of its ridge walking routes, with the 6–8 hour 15 kilometres (9.3 mi) Coomloughra Horseshoe, that circles Lough Coomloughra, considered "one of Ireland's classic ridge walks", which takes in all three of Ireland's 1,000 metres (3,300 ft) peaks, namely, Carrauntoohil, Beenkeragh, and Caher (East Top and West Top), as well as the famous Beenkeragh Ridge. The most challenging route is the full MacGillycuddy's Reeks Ridge Walk, a 12- to 14-hour, 26-kilometre (16 mi) traverse of the entire range. The route normally starts at the eastern end from Kate Kearney's Cottage in the Gap of Dunloe. The route takes in Stickeen Mountain (440 metres (1,440 ft)) and Cnoc an Bhráca (731 metres (2,398 ft)) before reaching the ridge proper at Cruach Mhór (932 metres (3,058 ft)). From there it continues along the narrow arete of The Big Gun (939 metres (3,081 ft)) to Cnoc na Péiste (988 metres (3,241 ft)), and continuing along the chain of Maolán Buí (923 metres (3,028 ft)), Cnoc an Chuillinn (958 metres (3,143 ft)), Cnoc na Toinne (845 metres (2,772 ft)) to the summit of Carrauntoohil (1,038 metres (3,406 ft)). From Carrauntoohil, a number of variations are possible, the main one being a detour to Beenkeragh (1,008 metres (3,307 ft)) before returning along the same route to get to Caher (1,000 metres (3,300 ft)) and then on to Caher West Top (975 metres (3,199 ft)) before descending to the Hydro-Track () car park near Lough Acoose, Glencar. An alternative variation is to continue from Beenkeragh on the northern side of the Coomloughra Horseshoe to the peaks or Skregmore (848 metres (2,782 ft)) and Cnoc Íochtair (747 metres (2,451 ft)) before descending to the Hydro-Track car park. ### Rock and winter climbing MacGillycuddy's Reeks are not especially known for their rock-climbing routes, unlike Ailladie in Clare or Fair Head in Antrim. The 450 metres (1,480 ft) rock climbing grade Very Difficult (V-Diff), Howling Ridge up the central arete between the east and north-east faces of Carrauntoohil is notable. The north-east face of Carrauntoohil (e.g. the Eagle's Nest area), is better known for its winter climbing, conditions permitting, offering 80 routes with 7 up to winter Grade V. ## List of peaks The following is a download from the MountainViews Online Database, which lists 29 identifiable Reeks with an elevation, or height, above 100 metres (330 ft). ## See also - Lists of mountains in Ireland - List of Irish counties by highest point - List of mountains of the British Isles by height - List of P600 mountains in the British Isles - List of Furth mountains in the British Isles - List of highest points of European countries - List of countries by highest point

Showgirl: Homecoming Live

Showgirl: Homecoming Live is the fourth live album by Australian singer-songwriter Kylie Minogue. It was first released on 8 January 2007 as a double CD set, by Parlophone in the United Kingdom, before an international release took place in the following months. Produced by Steve Anderson, the album was recorded on 12 November 2006, during one of Minogue's concerts of her Showgirl: The Homecoming Tour in Sydney, Australia at the Sydney Entertainment Centre. The concert features U2's vocalist Bono as a featured artist on the song "Kids". Showgirl: Homecoming Live received mixed reviews from music critics, who were ambivalent over its content as well its overlong length, and thought the concert would be more appreciated visually rather than in audio. Commercially, the release attained moderate success worldwide; it reached number seven in the United Kingdom and was later certified silver by the British Phonographic Industry (BPI) for shipments of over 60,000 copies. The album also charted within the top 30 in Australia, Croatia and Scotland. ## Background Showgirl: The Homecoming Tour was the ninth concert tour by Australian singer Kylie Minogue. It supported her second major greatest hits compilation, Ultimate Kylie (2004), and visited Australia and the United Kingdom. Minogue was originally scheduled to perform in Australia and Asia during her Showgirl: The Greatest Hits Tour in 2005, but the dates were postponed due to her breast cancer diagnosis. In a statement, the singer said she was "looking forward to bringing the Showgirl tour to Australian audiences and am sorry to have to disappoint my fans"; her Australian tour manager, Michael Gudinski, would later declare the tour dates would be postponed until the end of 2006, when Minogue could be fully recovered. The tour was officially announced on 22 June 2006 by Frontier Touring Company, initially comprising only dates in Australia, but due to popular demand, shows in the United Kingdom were also announced. The tour contained a revised set list and new costumes. To accommodate Minogue's medical condition and conserve her strength, both alterations to the choreography and longer breaks between show sections were introduced. It received positive reviews, with critics deeming the concert an "extravaganza", and a "perfect comeback". The tour was also a commercial success, selling 215,000 tickets for twenty concerts in Australia, becoming the best selling tour by a female artist in the country. The album was recorded on 12 November 2006, during Minogue's second concert at the Sydney Entertainment Centre in Sydney; the concert featured U2's Bono on the song "Kids". The record was first released on 8 January 2007 in the United Kingdom, coinciding with Minogue's tour in the region. It was later issued internationally in countries such as Australia and Japan. ## Critical reception Showgirl: Homecoming Live received mixed reviews from music critics. Lizzie Ennever of BBC Music gave the album a positive review, writing that "if you're a true Kylie fan, this is an essential addition to your collection; if you're not, you might just find yourself becoming one". For The Daily Telegraph's Cameron Adams, the record "lets you focus without [visual] distraction on the songs that made it all happen", and viewed Minogue's performance with Bono on "Kids" as its "money shot". Michael Hubbard from musicOMH stated that it "makes the listener wish they'd been at the concert", but pointed out that "missing the show's visual elements feels like only getting half of the story". Echoing a similar opinion, Chris Toh from Torque said that the main exercise of the album was "one of imagination", since most of Minogue's concerts are a dramatic spetacle. For the staff of MSN Music, "without the lavish visuals, dance routines and fireworks Kylie does have a habit of sounding a little flat and out-of-breath at times" in the album, but declared that "whether she's in tune or not, it's still great to have her back!". T'Cha Dunlevy from The Gazette said the album "lacks the visual impact of the original Showgirl tour DVD", but considered it "fun for fans". Giving the release two-and-a-half out of five stars, Darryl Sterdan of The Winnipeg Sun wrote that it "does deliver the best of both worlds", complimenting the live renditions of "Come into My World" and "Slow", but felt "the world needs live CDs from Kylie the same way it needs radio shows about actual Showgirls". The Observer's Emily Stokes called it a "never-ending" record which has "rougher patches than her Greatest Hits", but showed "Kylie at her most girlishly versatile", citing the Samsara section and the new version of "The Locomotion" as examples. In a similar vein, Steve Jelbert from The Times also criticized the album's length, calling it "overlong" and commented the record suffers "the usual pitfalls of live albums", making it sound like "a tape of a wedding reception disco". Also in a more negative review, Sharon Mawer from AllMusic stated that "Minogue will continue to have hit singles and albums because the public loves her whatever she does, but this album did nothing to enhance her reputation or add to her impressive catalog." ## Commercial performance In the United Kingdom, Showgirl: Homecoming Live opened at number seven on the UK Albums Chart. It spent five weeks on the chart and was later certified silver by the British Phonographic Industry (BPI) for shipments of over 60,000 copies. It was less successful in Scotland, peaking at number 14. The album also charted moderately in other European countries; in Austria, it reached number 55, charting for only one week. Showgirl: Homecoming Live attained more success in Croatia, where it peaked at number 25 on the national charts, as well as number six on the chart counting only international artists. In Australia, the release debuted at number 28 on the ARIA Charts, on the issue dated 18 February 2007, and dropped out of the chart at number 43 the following week. ## Track listing ## Personnel Credits adapted from the liner notes of Showgirl: Homecoming Live. - William Baker – director, backstage photography - Steve Anderson – executive producer, music director, programming, orchestrations, producer, show arranger - Andrew Small – co-producer, drums, music director - Chris Brown – bass - Steve Turner – keyboards - Mark Jaimes – guitar - Hazer Fernandez – backing vocals - Janet Ramus – backing vocals - Valerie Etienne – backing vocals - Tim Weidner – mixing - Geoff Pesche – mastering - Chris Pyne – recording - Ken Mckay – photography - Richard Ash – light retractions, trails - Tony Hung – light retractions, trails - Adjective Noun – sleeve direction, design ## Charts ## Certifications ## Release history

Cello Sonata No. 3 (Beethoven)

Composition for cello and piano by Ludwig van Beethoven

The Cello Sonata No. 3 in A major, Op. 69, is the third of five cello sonatas by Ludwig van Beethoven. He composed it in 1807–08, during his productive middle period. It was first performed in 1809 by cellist Nikolaus Kraft and pianist Dorothea von Ertmann, a student of Beethoven. Published by Breitkopf & Härtel the same year, it was dedicated to Freiherr Ignaz von Gleichenstein, Beethoven's friend and an amateur cellist. The sonata was successful with audiences from the beginning. An early print of the composition titled it "Sonata / per il / Clavicembalo con Violoncello / composta / dal Sig=r / Luigi van Beethoven". Beethoven's two early sonatas were, as usual at the time, virtuoso concert pieces for the piano, with the string instrument playing a supporting role. The third sonata has been described as the first cello sonata to give the two instruments equal importance. A model for later compositions in the genre, it has been performed and recorded often, including versions with period instruments. ## History Over the course of his life, Beethoven composed five cello sonatas, two of them early as his Op. 5. These two sonatas, composed when Beethoven was age 25, were highly virtuoso concert pieces showing off the pianist, with a cello part of less weight. Beethoven performed them with cellist Jean-Pierre Duport in Berlin in 1796, and dedicated them to Friedrich Wilhelm II of Prussia who was an amateur cellist himself. Beethoven composed his third cello sonata in A major in Vienna during his middle period, a productive time when he also composed works such as the Piano Trios Op. 70, the Choral Fantasy, as well as his Fifth and Sixth Symphonies. It was a time when Beethoven faced increasing deafness. He had to end his career as a pianist with the concert on 22 December 1808 in which he premiered the two symphonies, the Choral Fantasy and other vocal and choral music, as well as his Fourth Piano Concerto. First sketches for the sonata appeared alongside those for the Fifth Symphony and the Violin Concerto in a sketchbook dated September 1807 to early in 1808. Beethoven's sketches show that he continuously revised passages, and further altered his first autograph manuscript, while the finished composition sounds like the result of spontaneous inspiration. He completed the composition in 1808. Beethoven dedicated the sonata to Freiherr Ignaz von Gleichenstein, his friend and an amateur cellist, who also assisted the composer in financial matters. The previous year he had arranged an annuity for Beethoven from a group of sponsors which included Archduke Rudolf of Austria, a pupil of Beethoven. The composer had planned to dedicate his Fourth Piano Concerto to Gleichenstein, but felt that he had to honour the Archduke with the dedication instead, because he had shown particular interest in the Concerto. Beethoven explained to Gleichenstein his regret but announced: "... another work is appearing in which you will be given what is due to your – and our friendship". The sonata was first performed on 5 March 1809 as part of a benefit concert for the cellist Nikolaus Kraft, who performed it with pianist Dorothea von Ertmann, a student of Beethoven. Kraft, known for "technical mastery" and a "clear, rich tone", was the cellist for whom Beethoven had written his Triple Concerto, published in 1804, and Beethoven's first work to use advanced cello techniques. A performance of the cello sonata in 1816 was played by Joseph Linke, the cellist in the Razumovsky Quartet, and Carl Czerny. The pianist wrote in metronome markings, regarded as approved by the composer, and noted that a slight rubato playing would increase interest and expressiveness. Breitkopf & Härtel published the cello sonata first in Leipzig. The first edition had many mistakes, including the opus number misprinted as 59. Beethoven was annoyed, but the mistakes could be corrected only in a later edition. The work appeared the same year also printed by Artaria, entitled "Sonata / per il / Clavicembalo con Violoncello / composta / dal Sig=r / Luigi van Beethoven". A critical edition was published in 1971 by Henle Verlag, edited by Bernard van der Linde, based on the edition of Beethoven's complete works (Sämtliche Werke) by the Beethoven Archive the same year. These editions relied on the earlier prints, the autograph manuscript even if regarded as still a work in progress, as well as the correspondence of Beethoven and his first publisher regarding errors. The sonata is formally the most expansive of Beethoven's cello sonatas, but also the most melodic one, and was successful with audiences from the beginning. A performance takes about 25 minutes. Violinist Mark Kaplan noted: "In general, the writing in op. 69 is thinner than in the early cello sonatas ... greater compositional technique allowed Beethoven the possibility of using fewer notes with confidence." Cellist Steven Isserlis described the work as the first cello sonata in history to give the two instruments equal importance. It has remained a model in the genre, for works by Mendelssohn, Brahms, Debussy and Shostakovich. ## Structure and music The sonata is structured in three movements, with an 18-bar slow introduction to the third movement: 1. Allegro ma non tanto 2. Scherzo. Allegro molto (in A minor) 3. Adagio cantabile – Allegro vivace Beethoven noted on the autograph manuscript "Inter lacrymas et luctus" (Amid tears and sorrows). However, the work's character has been described as "positive in attitude", and "radiating serenity, humour and joy", similar in mood to some works by Franz Schubert. The sonata is a classical work with measured proportions and elements of symmetry. Throughout the composition, the two instruments are treated as equal partners, not as solo and accompaniment as in the early cello sonatas. ### Allegro ma non tanto The first movement is in alla breve time and marked Allegro ma non tanto (fast but not too much). It is written sonata form, and opens with an expansive melody introduced by the cello alone. Beethoven composed an opening by the string instrument alone also as a feature in violin sonatas. The piano then enters with cadenza-like flourish, which leads into a repetition of the opening theme played in octaves by the piano. The melody consists of several motifs to be used as material for further development. A bridge passage follows, leading to a second subject played, as John Mangum noted, in "organic relationship" with "the cello and piano interweaving, each gently decorating and elaborating the other's part". The development gives greater emphasis to the first theme. In the recapitulation, the first cello is accompanied by running triplets of the piano. One of the motifs is similar to the first motif in Bach's aria "Es ist vollbracht" (All is fulfilled) from his St John Passion, introduced there by the viol. It is unclear if the similarity is intended, but would match the inscription "inter lacrymas". The movement has moments of stillness and introspection both before the recapitulation and before the "final flourish". ### Allegro molto As in some of Beethoven's piano sonatas, there is no slow movement. The second movement is a scherzo in the tonic minor, A minor, with a contrasting trio in A major; the scherzo is played three times, alternating with the trio played twice. The scherzo makes prominent use of off-beat accents, in "rhythmic sharpness and thematic brevity". The trio's character was described by a reviewer as "gruff humour". ### Adagio cantabile – Allegro vivace The finale begins with a slow introduction in time, marked Adagio cantabile (slow and singing), in the dominant key, E major. A slow introduction appears also in other Beethoven works of the period, such as the Waldstein Sonata. Here, it "creates a wholly individual atmosphere, one that is broadly lyrical and tinged with a sort of dignified sorrow", as Mangum noted. The short section has been described as sublime and "emotionally charged". The finale, in alla breve time and marked Allegro vivace (fast and lively) is again in sonata form. The cello plays both the first subject and a contrasting second subject. The first subject dominates the development. The finale ends with an expressive coda. The movement has been described as contrasting episodes of "bravura" and others of "gentle repose", ending in a "joyous conclusion". Cellist Jan Vogler summarised that the sonata "is an aristocratic, temperamental piece, full of musical expression and imagination. Its form is perfect, and it shows Beethoven's great taste." ## Recordings The sonata has been recorded often, especially in sets of all cello sonatas by Beethoven, or all music by him for cello and piano which includes also several sets of variations. Pablo Casals recorded the five cello sonatas in the 1930s, the Third with pianist Otto Schulhoff [de]. In 1950, the sonata was recorded, together with the second by Maurice Gendron and composer Jean Françaix as the pianist. A recording of all cello sonatas was made by Mstislav Rostropovich and Sviatoslav Richter in 1963, which has been regarded as one of the greatest collaborations ever. Pierre Fournier and Wilhelm Kempff recorded the works in 1965, followed by Casals and Mieczysław Horszowski, Jacqueline du Pré and Daniel Barenboim, Yo-yo Ma and Emanuel Ax, Jean-Guihen Queyras and Alexander Melnikov, Daniel Müller-Schott and Angela Hewitt, and Mischa Maisky and Martha Argerich. The five sonatas were recorded in 2014 by cellist Maja Weber [de] and pianist Per Lundberg. Steven Isserlis and the musicologist Robert Levin played the sonatas on historic instruments, with forte-piano instead of a modern concert grand, to ensure the balance of sound Beethoven had in mind. They used a new critical edition by the musicologist Jonathan Del Mar. Jacqueline du Pré also made an earlier, critically well-received version with Stephen Kovacevich.

M19 Multiple Gun Motor Carriage

The M19 Multiple Gun Motor Carriage (MGMC) was a World War II United States Army self-propelled anti-aircraft weapon on the M24 light tank chassis. It was equipped with two Bofors 40 mm guns. It was produced by Cadillac and Massey Ferguson of Canada near the end of 1944. The M19 was developed from the T65 which was based on the M5 light tank chassis. With the M5 going out of production, the project adopted the M24 Chaffee Light tank chassis and was designated the T65E1. It was accepted into service in May 1944 as the M19 MGMC, equipping several U.S. Army anti-aircraft units during World War II. The M19A1 was an improved variant with an auxiliary engine and spare barrels for the 40 mm Bofors guns. Although all M19s were produced during World War II, they did not reach operational capability until after the cessation of hostilities. The M19’s first combat was in Korea in 1950 against North Korean forces. ## Specifications The M19 MGMC had similar specifications to the M24 Chaffee. It was 17.9 ft (5.46 m) long, 9.33 ft (2.845 m) wide, and 9.83 ft (2.997 m) high. It had a weight of 38,499 lb (17,463 kg), and was powered with a 220 hp (160 kW) Twin Cadillac Model 42, twinned-V-8 engine installation (two Model 42 Cadillac automobile V-8s driving a common gearbox). It could achieve a speed of 35 mph (56.3 km/h), and had a range of 150 mi (241 km). The vehicle was operated with a crew of six. ## Development The M19 evolved from the 40 mm Gun Motor Carriage T65 project, which was based on an Armored Force requirement for a light anti-aircraft vehicle based on the M5 light tank chassis. Although trials were successful and a production of 1,000 T65s had been requested, the project was stopped by the Ordnance Department since the M5A1 light tank chassis was being phased out of production. Since the T65 project was fading away, the Armored Force still needed a light anti-aircraft vehicle, so they made a new project (called T65E1) based on the new T24 chassis (a prototype of the M24 Chaffee). The T65E1 had the same overall layout as the T65 GMC – gun turret at rear with the engines in the middle of the chassis – with a few minor tweaks (including an angular gun shield instead of a straight one). ### M19 and M19A1 The T65E1 was accepted into service as the M19 Gun Motor Carriage in May 1944 with an order for 904 production models, which was sent to Cadillac. Some 300 were built by Massey Ferguson (then Massey-Harris) in Canada. Production did not start until August of that year, and only 285 were produced by the end of the war. The M19A1 had an auxiliary engine and generator to operate the 40 mm guns when the main engine was shut down, and fixtures for carrying two spare gun barrels. ## Service history The full order was not completed as the requirements for anti-aircraft weapons had changed and chassis were diverted to produce more of the Chaffee light tank. The M19 MGMC arrived too late to serve in Europe in World War II with the U.S. Army. It was never delivered to other countries for Lend-Lease or through Military Assistance Program (though a few examples were transferred to the Netherlands in 1951 and the newly established JGSDF in 1954). It served in the Korean War, mostly as an assault gun. It was used in the defense against the North Korean forces on the Eastern side of the Chosin Reservoir by US Army units of the 31st and 32nd Infantry as well as in the Pusan Perimeter fighting and later fighting in Korea. The 40 mm guns were especially effective against Chinese mass infantry charges in North Korea. ## Comparable vehicles - 40M Nimród - Crusader Mk. III Anti-Aircraft Tank Mk. I - Möbelwagen - Ostwind - ZSU-37 ## See also - M42 Duster - similar system based on M41 light tank - List of U.S. military vehicles by model number - List of U.S. military vehicles by supply catalog designation

USS Missouri (BB-11)

Pre-dreadnought battleship of the United States Navy

USS Missouri (BB-11), a Maine-class battleship, was the second ship of her class and of the United States Navy to be named in honor of the 24th state. Missouri was laid down in February 1900 at the Newport News Shipbuilding & Drydock Company, was launched in December 1901, and was commissioned into the fleet in December 1903. She was armed with a main battery of four 12-inch (305 mm) guns and could steam at a top speed of 18 knots (33 km/h; 21 mph). Missouri spent her entire career in the Atlantic with the North Atlantic Fleet, later renamed the Atlantic Fleet. In late 1907, she and the rest of the Atlantic Fleet circumnavigated the globe as the so-called Great White Fleet, which ended in February 1909. The ship was decommissioned in 1910, with periodic reactivations for summer training cruises over the followed six years. After America entered World War I in April 1917, Missouri was brought back into service to train personnel for the expanding wartime Navy. She served briefly as a troopship in 1919, carrying American soldiers back from France, before being decommissioned in September that year. Ultimately, she was sold for scrapping in January 1922. ## Description The United States Congress passed a major naval construction program in response to the outbreak of the Spanish–American War in 1898; the program included three new battleships, which were to become the Maine class. The class incorporated several significant technological developments, including smaller caliber main guns that used smokeless powder to achieve greater muzzle velocity (and thus penetrating power), Krupp cemented armor that was stronger than Harvey armor used on earlier vessels, and water-tube boilers that provided more power for the engines. Missouri was 393 feet 11 inches (120.07 m) long overall and had a beam of 72 ft 3 in (22.02 m) and a draft of 23 ft 9 in (7.24 m). She displaced 12,362 long tons (12,560 t) as designed and up to 13,700 long tons (13,900 t) at full load. The ship was powered by two-shaft triple-expansion steam engines rated at 16,000 indicated horsepower (12,000 kW), driving two screw propellers. Steam was provided by twelve coal-fired Thornycroft boilers, which were vented into three funnels. The propulsion system generated a top speed of 18 knots (33 km/h; 21 mph). As built, she was fitted with heavy military masts, but these were quickly replaced by cage masts in 1909. She had a crew of 561 officers and enlisted men, which increased to 779–813. The ship was armed with a main battery of four 12 in (305 mm) /40 caliber guns in two twin gun turrets on the centerline, one forward and aft. The secondary battery consisted of sixteen 6 in (152 mm) /50 caliber Mark 6 guns, which were placed in casemates in the hull. For close-range defense against torpedo boats, she carried six 3 in (76 mm) /50 caliber guns mounted in casemates along the side of the hull, eight 3-pounder guns, and six 1-pounder guns. As was standard for capital ships of the period, Missouri carried two 18 in (457 mm) torpedo tubes, submerged in her hull on the broadside. Missouri's main armored belt was 11 in (279 mm) thick over the magazines and the propulsion machinery spaces and 8 in (203 mm) elsewhere. The main battery gun turrets had 12-inch (305 mm) thick faces, and the supporting barbettes had the same thickness of armor plating on their exposed sides. Armor that was 6 in thick protected the secondary battery. The conning tower had 10 inches (254 mm) thick sides. ## Service history ### 1900 – 1907 Missouri was laid down at the Newport News Shipbuilding & Drydock Company on 7 February 1900, the third member of the class to be begun. She was launched on 28 December 1901 and commissioned into the fleet on 1 December 1903. The ship was assigned to the North Atlantic Fleet after entering service. She steamed out of Norfolk to begin her sea trials off the Virginia Capes on 4 February 1904 before joining the rest of the fleet in the Caribbean for training exercises. On 13 April, the ship suffered an accident during gunnery training; the port 12-inch gun in her rear turret flared backward on firing and ignited three propellant charges in the turret. The resulting fire suffocated 36 men in the turret, though quick action among surviving members of the turret crew prevented the fire from spreading to the magazines, where it would have destroyed the ship. For their actions, three men were awarded the Medal of Honor. Missouri returned to Newport News for repairs, which were completed by early June. On 9 June, Missouri left Newport News for a tour of the Mediterranean, arriving back in New York on 17 December. She remained with the North Atlantic Fleet for the next three years conducting normal peacetime training. During this period, the fleet was renamed the Atlantic Fleet. Missouri assisted in relief work in Kingston, Jamaica from 17 to 19 January 1907, following a severe earthquake there. That April, she participated in the Jamestown Exposition. The ceremonies were held to commemorate the 300th anniversary of the Jamestown colony. An international fleet that included British, French, German, Japanese, and Austro-Hungarian warships joined the US Navy at the event. ### Great White Fleet Missouri's next significant action was the cruise of the Great White Fleet around the world, which started with a naval review for President Theodore Roosevelt in Hampton Roads. The cruise of the Great White Fleet was conceived as a way to demonstrate American military power, particularly to Japan. Tensions had begun to rise between the United States and Japan after the latter's victory in the Russo-Japanese War in 1905, particularly over racist opposition to Japanese immigration to the United States. The press in both countries began to call for war, and Roosevelt hoped to use the demonstration of naval might to deter Japanese aggression. On 17 December, the fleet steamed out of Hampton Roads and cruised south to the Caribbean and then to South America, making stops in Port of Spain, Rio de Janeiro, Punta Arenas, and Valparaíso, among other cities. After arriving in Mexico in March 1908, the fleet spent three weeks conducting gunnery practice. The fleet then resumed its voyage up the Pacific coast of the Americas, stopping in San Francisco and Seattle before crossing the Pacific to Australia, stopping in Hawaii on the way. Stops in the South Pacific included Melbourne, Sydney, and Auckland. After leaving Australia, the fleet turned north for the Philippines, stopping in Manila, before continuing on to Japan where a welcoming ceremony was held in Yokohama. Three weeks of exercises followed in Subic Bay in the Philippines in November. The ships passed Singapore on 6 December and entered the Indian Ocean; they coaled in Colombo before proceeding to the Suez Canal and coaling again at Port Said, Egypt. The fleet called in several Mediterranean ports before stopping in Gibraltar, where an international fleet of British, Russian, French, and Dutch warships greeted the Americans. The ships then crossed the Atlantic to return to Hampton Roads on 22 February 1909, having traveled 46,729 nautical miles (86,542 km; 53,775 mi). There, they conducted a naval review for Roosevelt. ### Later career Missouri spent the next several years laid up, with periodic reactivations for summer training cruises for midshipmen from the US Naval Academy. She was reduced temporarily to reserve status on 1 May 1910 in Boston, though she was recommissioned on 1 June 1911 for service with the Atlantic Fleet. In June 1912, the ship was deployed to Cuba with a contingent of Marines to protect American interests during a rebellion in the country. She conducted a midshipmen training cruise in July before being decommissioned a second time on 9 September, this time at Philadelphia. She returned to service on 16 March 1914 for another midshipmen cruise, which visited Italy and Great Britain. On 2 December, she was again decommissioned before returning to service on 15 April 1915 for a midshipmen cruise in the Caribbean, through the Panama Canal, and to visit ports in California. After arriving back in Philadelphia, she was reduced to the Reserve Fleet yet again on 18 October. Another period of active service began on 2 May 1916 for a training cruise along the east coast of the United States and into the Caribbean, before Missouri was again laid up late in the year. On 6 April 1917, the United States declared war on Germany, entering World War I. Missouri was recommissioned on 23 April for service as a training ship for gunners and engine room personnel, based in the Chesapeake Bay. Rear Admiral Hugh Rodman hoisted his flag aboard Missouri on 26 August, as the commander of the 2nd Division, Atlantic Fleet. On 11 November 1918, Germany signed the Armistice that ended the war. Missouri was subsequently used to ferry American soldiers back from Europe as part of the Cruiser and Transport Force. Her first voyage began on 15 February 1919 when she steamed out of Norfolk; three more would follow that year. In the course of the four trips, she carried 3,278 soldiers back to the United States. The old battleship was decommissioned for the last time on 8 September 1919 at the Philadelphia Navy Yard. Missouri was sold to J. G. Hitner and W. F. Cutler of Philadelphia on 26 January 1922 and subsequently broken up for scrap.

Devil Daggers

2016 video game

Devil Daggers is a first-person shooter video game developed and published by indie development team Sorath. Players are tasked with surviving for as long as possible against swarms of demonic enemies on an arena shrouded in darkness. The player character can fire daggers from their fingers to eliminate foes and move about to avoid contact with them. The player dies upon touching an enemy, and as time passes, more threatening creatures begin to appear. Survival times are recorded on a global leaderboard where replays of playthroughs can be accessed and viewed. The deliberate use of unfiltered textures and effects like polygon jitter and texture warping make its visual style reminiscent of early 3D games released in the 1990s. Devil Daggers was released for Windows in February 2016, after being greenlit for release on digital distribution platform Steam. OS X and Linux versions were released in July and September 2016 respectively. The game received positive reviews and was praised for its sound design, unique visual style and challenging gameplay. However, some reviewers noted that during its latter stages the overwhelming number of enemies and visual style made it difficult to understand what was happening. Critics likened the aesthetics, movement and shooting mechanics of Devil Daggers to Doom, Quake and other first-person shooters of the 1990s. ## Gameplay Devil Daggers is a shooter video game with gameplay experienced from a first-person perspective. The goal of the game is to kill demonic enemies and survive for as long as possible. Devil Daggers opens with the player character standing in a shadowy room; in front of them is a floating dagger illuminated by a spotlight. Upon retrieving the dagger, the player is transported to a flat, floating platform arena cloaked in darkness. In the arena, demonic enemies begin spawning. Initially, a series of tentacled, towering creatures spawn and start releasing swarms of flying skulls that pursue the player. As time progresses, more exotic creatures that pose a greater threat and exhibit different behaviour begin to appear. Each enemy makes a unique and continuous noise, so that the player is able to recognise what type of enemy is approaching them. The player kills enemies by firing daggers from their fingers. There are two firing options: clicking the left-mouse button fires a shotgun-like blast of daggers with a wide spread, and holding the mouse button down fires a precise, continuous stream of daggers. Some enemies have weak spots indicated by red crystals on their bodies. Once dead, the red crystals are dropped and can be gathered by the player to obtain attack upgrades, such as increased damage and homing daggers. The player dies when coming into physical contact with an enemy or falling off the stage. At the top of the screen, a timer displays how long the playthrough has lasted. The player's best survival time is published on a global leaderboard. Accessed via the leaderboard, replays of playthroughs can be downloaded and watched from either a first-person view or a top-down perspective. As enemies accumulate in the arena, the amount of safe space decreases. This, alongside the enemies' aggressive behaviour, encourages constant player movement and spatial awareness. The player character can move at high speed and jump to perform evasive manoeuvres. The game employs advanced movement techniques to increase player speed and jump height. The player can gain a speed boost by strafing while jumping. The shotgun-like blast can supplement the jumping mechanism; the player can be propelled further and perform a double jump by firing downwards while still in the air. ## Development and release Devil Daggers was developed by Sorath, a Melbourne-based independent video game developer. The development group was formed by Matt Bush, a member of Dustforce creators Hitbox Team. The game's art direction and rendering engine were designed to reimagine the aesthetics and graphical style of video games from the 1990s. This was achieved by making use of unfiltered textures, jagged 3D models, and the deliberate implementation of polygon jitter and texture warping found in early 3D games. Jitter and warping were often considered technical flaws of PlayStation games; however, the recreation of these effects in Devil Daggers is to make enemies shudder and ripple during movement. Enemy designs are hellish, with some entities taking the form of insectoids with skeletal features. Audio is composed largely of distorted and abstract sounds with compressed, digitised screams used to produce unsettling noises for the creatures. Sorath submitted Devil Daggers to Steam Greenlight, a community selection system, so that the game could be released on digital distribution platform Steam. The game was successfully greenlit and released for Windows on 18 February 2016. On 6 July 2016, Sorath released an OS X version of Devil Daggers. Alongside this release, two new enemy types were added to the game and the Devil Daggers soundtrack was added to the game's directory. Support for vertical sync, increased field of view, and virtual surround sound via HRTF-processing were also added. On 19 September 2016, a Linux version of Devil Daggers was released along with the ability to view replays from a top-down perspective. The update also added more statistics such as tracking a player's total survival time across all runs. ## Reception Devil Daggers received "generally favourable" reviews from critics according to review aggregator website Metacritic. Critics compared the gameplay and graphics favourably to first-person shooters of the 1990s such as Doom and Quake. Reviewers were pleased with how Devil Daggers offered a stripped-down experience of these games, and provided a fast and pure gameplay experience. The game's fluid movement system was compared to arena shooters Quake III Arena and Unreal Tournament 2004 by Edge magazine. They welcomed the inclusion of advanced movement techniques, saying they felt "fresh" when implemented in a survival context. They also thought that Devil Daggers refined on so much of the borrowed elements, that it would be inaccurate to simply call the game a "nostalgic throwback". Devil Daggers was considered to be a perfect distillation of old school arena shooters by Zack Furniss, writing for Destructoid. Kill Screen writer Davis Cox praised the "frenetic, bullet hell" nature of Devil Daggers, but felt that there was opportunity to incorporate more interesting levels and spaces into the game. Tom Senior of PC Gamer enjoyed the "oppressive" and "hellish" atmosphere created by the deliberate use of old rendering techniques and effects. Both GameSpot and IGN critics agreed that although the retro visual style was fitting, it could also become a hindrance when the excessive clutter of pixelated enemies made it difficult to interpret what was happening on screen. Furniss of Destructoid stated that the visuals might not appeal to everyone, but he loved the horror aspect and sense of nostalgia that it evoked. The game's sound design was lauded by critics. Reviewers especially liked the practical use of unique and continuous enemy noises. Being able to pinpoint an enemy's location when they were obscured from view was seen as an interesting aspect of the game's audio. The cacophony created by enemies was described as "chilling" by IGN reviewer Chloi Rad. She also felt that the audio combined well with the fluid movement to provide the player with the information and means for dealing with enemies. Many reviewers discussed the high level of difficulty presented by Devil Daggers, calling the experience "intense" and "brutal", but also "gleeful" and "exhilarating". Edge called the game an "expertly designed test of skill". GameSpot reviewer Mike Mahardy believed that surpassing the 60 second mark in a run was a feat. Eurogamer writer Johnny Chiodini thought the game excelled at being a short experience and highlighted that becoming proficient in Devil Daggers was a process of repetition and refinement. Writing for Hardcore Gamer, Mark Steighner called the game addictive and thought that it was ideal for people obsessed with chasing high scores in games. Critics also liked the replay feature and pointed out that it was a great way to learn from other players and heighten the competitive aspect among the community. Rock, Paper, Shotgun named Devil Daggers as the best game of 2016. Writers of the website complimented its gameplay, aesthetic, and sound design. In January 2017, they placed Devil Daggers fifth on their list of the fifty best first-person shooters on PC. Chris Thursten of PC Gamer named Devil Daggers as his personal game of the year, calling it "flawlessly designed".

Alex Hewit

Lacrosse player

Alexander G. Hewit (born November 8, 1985) is a retired lacrosse goaltender. He led his high school to three New Jersey state championships and was one of the most sought after high school lacrosse players in the United States. He starred as a member of the Princeton Tigers men's lacrosse team from 2005 through 2008. He was recognized as a three-time United States Intercollegiate Lacrosse Association (USILA) All-American (first team once) and a three-time second team All-Ivy League performer. He was the 2006 National Collegiate Athletic Association (NCAA) goaltender of the year and 2008 Princeton co-captain. During his college career, Princeton lacrosse earned an Ivy League championship and two NCAA Division I Men's Lacrosse Championship invitations. ## Background Hewit is the son of Russell and Nan Hewit, and his siblings are Grant, Meghan and Rusty. Born November 8, 1985, and raised in Chatham, New Jersey, Hewit began playing lacrosse as a youth. Both of his older brothers played and introduced him to the sport. Hewit started playing lacrosse in fourth grade in a local recreational league in his hometown. By sixth grade he was converted from an attackman to a goalie, but not until the coaches convinced his mother's that her concern for her son's safety were unwarranted. He met his middle school, high school and college teammate Dan Cocoziello taking an entrance exam for the Delbarton School in sixth grade. On the seventh and eighth grade team and the freshman team at the Delbarton School he also played goalie. In eighth grade, he made a New Jersey state eighth-grade all-star team along with Cocoziello that competed against all-stars from other states. He made the varsity team as a sophomore and helped lead the team to a cumulative 63–4 record and three high school lacrosse state championships. He was an all-state and all-conference goalie who made the headmaster's list as a student. According to Inside Lacrosse, he was the fifth-best high school lacrosse recruit in the nation in 2003. Since his older brother Grant was at Princeton, the college was on his short list along with Johns Hopkins, Duke, Harvard and Dartmouth. Grant later became captain of the 2006 Tigers lacrosse team. ## College career Hewit played in six games for Princeton and started three as a freshman in 2005. He became the starting goalie late in his freshman year. He was first team USILA All-American Team selection in 2006, a second team selection in 2007 and an honorable mention selection in 2008. He was a 2006, 2007 & 2008 second team All-Ivy League selection. Hewit was a mild-mannered goalie who never celebrated after making saves. His goaltending style of taking away the high and tight shots altered the way opposing teams approached scoring. During the 2006 season, he held the three highest scoring teams in the country (Virginia, Hofstra and Cornell) to 20 goals, which was half of their combined average. He was given the Ensign C. Markland Kelly, Jr. Award in 2006 in recognition of being the best National Collegiate Athletic Association lacrosse goaltender. The 2006 team was Ivy League co-champion with Cornell. In 2007, he entered the season with a lower goals against average (6.45) than the NCAA Division I career record and was a preseason first team All-American according to Inside Lacrosse. He served as co-captain of the 2008 team. After a 5–7 2005 year, Princeton qualified for the NCAA Division I Men's Lacrosse Championship in 2006 & 2007. ## Professional career Hewit took a job with Lehman Brothers after graduating from Princeton. He was signed by New Jersey Pride for the 2008 MLL season, but he appeared in no games.

Jesus Is King (film)

2019 American concert film by Kanye West

Jesus Is King is a 2019 American experimental concert short film written by rapper Kanye West and directed by Nick Knight. Featuring gospel songs arranged by West and material from his ninth studio album of the same name, it also serves as an album companion piece. Primarily shown through a circular eye and features differing shots of the Sunday Service Choir performing music, as well as various Bible verses, West only appears briefly and performs his material towards the end. Jesus Is King was shot at Roden Crater of Arizona's Painted Desert in the summer of 2019, intended as a tribute to the Sunday Service Choir. West shared two trailers in October 2019 and that same month, a screening was held in Manhattan. The premiere occurred exclusively at IMAX theaters across the world on October 25, accompanying the album's release. \$1.1 million was grossed in total and the screenings sold out in 24 cities. The film received lukewarm reviews from critics, who generally highlighted the Sunday Service Choir's contributions. Some praised the location and West's lack of focus on himself, though numerous critics observed an unclear concept. ## Plot The scenes of Jesus Is King are mostly shown through a circular eye and throughout the film, West's gospel group, the Sunday Service Choir, is shown performing music inside Roden Crater from various angles, while numerous Bible verses are also displayed. A drone shot from above the location appears at the beginning, which gradually pulls away from it. The biblical quote "the time is fulfilled, and the kingdom of God is at hand: Repent and believe the gospel" from Mark 1:15 of the Gospel of Mark is displayed, followed by the camera zooming out from inside a keyhole. A bright version of the keyhole then appears and the camera zooms in on it, leading into an oval that slowly changes into the circular eye. The Sunday Service Choir appear first, wearing identical brown costumes as they enter a stone room that the skylight shines on through the roof's natural lens. West walks in alongside the group, though he does not perform initially, and the room is filled with religious ritual and color as the scenes progress. The circular eye shows shots of nature, including mountains, a deer, and a flower. West performs at a late point in Jesus Is King after only appearing briefly, singing "Street Lights" while sweeping the floor with a broom and wearing the same costume as the Sunday Service Choir members. The film concludes with a close-up shot of Kanye shirtless as he cradles his son Psalm West and sings "Use This Gospel" to him. ## Production On September 27, 2019, at a listening event for the album in Detroit's Fox Theatre, Kanye West revealed a film set to accompany his ninth studio album Jesus Is King. At the time, his wife Kim Kardashian had announced the film's title as Jesus Is Lord on her Instagram stories. On September 29, 2019, IMAX issued a press release announcing their collaboration with West for the release of a concert film of the same name to accompany the album on October 25. The press release said that the film was shot in the summer of 2019 and pays tribute to the Sunday Service Choir at the Roden Crater. IMAX's release described the location as "visionary artist James Turrell's never-before-seen installation in Arizona's Painted Desert"; the artist modified its core to feature a naked-eye observatory. Jesus Is King features songs arranged by West in a gospel style and music from the album, fully "presented in the immersive sound and stunning clarity of IMAX". The film uses a few tracks from the record: "Selah", "Everything We Need", "Use This Gospel", and an alternate version of "Jesus Is Lord" entitled "Every Knee Shall Bow". It includes an interpolation of the refrain of the gospel track "Ultralight Beam" from West's 2016 album The Life of Pablo, as well as revised versions of "Say You Will" and "Street Lights" from 808s & Heartbreak (2008). Old works are performed by the Sunday Service Choir in a gospel style: "O Fortuna", "Perfect Praise", "When I Think of His Goodness", "More Abundantly", "Count Your Blessings", and "Alleluia", the fifth of which was eventually included on their album Jesus Is Born on December 25, 2019. Prior to starring in Jesus Is King, the Sunday Service Choir had been assembled by West for weekly performances throughout 2019. IMAX President Megan Colligan issued a statement about collaborating with West, saying that the company took "an opportunity to create a cultural moment with a visionary artist" for expanding their brand. She added that IMAX were "surprising audiences and experimenting with what we can bring to our platform beyond blockbusters". Roden Crater remained under construction at the time of West filming there, having been worked on by Turrell for around 40 years. In 2018, West toured the crater multiple times after he made trips across the United States to see Turrell's art and in December, he revealed his first pilgrimage to the location. West subsequently took conference calls with the artist and spent time with him inside a piece named "Perfectly Clear" at the Massachusetts Museum of Contemporary Art, a month before the rapper donated US\$10 million to help finish Roden Crater. He also spoke about his appreciation of Turrell's work, saying that "one day, we'll all be living in Turrell spaces" and his lights "turn you into a zen state". On October 17, 2019, British fashion photographer Nick Knight was announced as the director of Jesus Is King. He had worked with West in the past, shooting the music videos for his 2013 singles "Black Skinhead" and "Bound 2". Discussing collaborating with the rapper in an October 2019 interview, Knight drew a heavy comparison to how he worked with fashion designer Alexander McQueen, after "understanding his world and his desires". He explained that they are both intricate, spirited, kind, and oftentimes misrepresented by the media wanting to simplify answers to highly complex questions. Knight declared West was uninterested in being centre stage and recalled the rapper saying Jesus Is King "isn't a film that is about me, [it] is a film about worship - that's a universal thing", elaborating that his "lack of ego and modest humility" was significant to him not being the main star, feeling he was presenting an unseen vision of West "about emotion and integrity". Jesus Is King served as a companion piece to the album, following West's 2010 film Runaway that was released for his fifth studio album My Beautiful Dark Twisted Fantasy as his second film for a record. West explained in a voiceover of a trailer for Jesus Is King that its purpose was Christian evangelism, not entertainment: "We're here to spread the gospel. I'm not here for your entertainment. I'm an evangelist, so my music, my films, every conversation, every room I go in, we're here to save souls, save you from eternal damnation. I use art to make believers." ## Marketing The film's official poster was posted by Knight to Instagram on September 29, 2019. The poster was designed by Turrell and depicts Roden Crater. On October 17, 2019, West shared the first trailer for Jesus Is King that is soundtracked by a choir's reinterpretation of "Say You Will" with new lyrics and slightly over a minute long. A temple-like illustration of Roden Crater appears while the choir sing, with the setting showing stairs that lead out to a light and as the trailer progress, the camera zooms in on this. The trailer then ends with a quote from Mark 1:15, reading: "In the words of Jesus Christ, 'The time is fulfilled, and the Kingdom of God is at hand, repent and believe in the gospel.'" On October 19, 2019, West released a trailer consisting of behind-the-scenes footage from Jesus Is King, which runs for almost two minutes and uses a slow drum beat. It begins by displaying the same quote from the first trailer, before cutting to West walking up a hill as he explains the religious purpose of the film in a voiceover. He and his crew are shown assembling the camera outside Roden Crater, after which the Sunday Service Choir perform at the location. This is followed by footage of West in an editing room reciting the Mark quote. Turrell also makes an appearance in the trailer, speaking with the rapper. ## Release Excerpts from Jesus Is King were shown during listening parties for the album in Detroit, Chicago, and Inglewood on September 27, September 28, and October 23, 2019, respectively. While presenting a preview at the September 27 event, West said that it would premiere through IMAX in October 2019. At The Forum in Inglewood on October 24, a buzzing of bugs crescendeoed to signify the beginning of the preview as the large screen lit up. West stood amongst the audience for the screening and at the end, he walked out of the crowd. On October 24, 2019, the first full screening of the film was held at AMC Lincoln Square in Manhattan, beginning at 7 p.m. after the lights dimmed. On October 25, 2019, Jesus Is King premiered exclusively in IMAX theaters across the world, accompanying the album's release after a series of delays. In June 2020, West tweeted an announcement of a digital release of the film on iTunes. However, as of 2022, the film has yet to be given an official digital release. ## Reception ### Box office Jesus Is King grossed \$973,000 in the US and \$109,629 in other territories, making for a worldwide total of \$1,082,629. On October 18, 2019, IMAX tickets were made available via cinema homepages and West's website, priced between \$10 and \$19.75. The film generated a worldwide opening of \$1.03 million, reaching the top 10 in its first week and grossing \$862,000 in North America, alongside \$175,000 across international markets. Jesus Is King was shown at a per-screen average of \$2,317 in 440 IMAX theaters worldwide, 372 of which were in North America and the remaining 68 were in 12 international markets. The screenings sold out in 24 cities worldwide, including US locations like New York, Los Angeles, and Chicago, as well as international capitals such as London, Copenhagen, and Mexico City. ### Critical response Jesus Is King was met with lukewarm reviews from critics. On the review aggregator website Rotten Tomatoes, 83% of six critics gave the film a positive review, with an average rating of 5.6/10. At Metacritic, it received an average score of 61, based on four reviews. Writing for TheWrap, Todd Gilchrist viewed the film as "largely and predictably" appealing almost entirely to West's fanbase, asserting the performances are "more staged" and "abbreviated" than the Sunday Service Choir's concerts. He also noted West's musical and spiritual growth while praising the focus on the music. David Ehlrich from IndieWire graded the film a B-, praising the lack of appearances from West in favor of the Sunday Service Choir, its spiritual immersion, and the diverse production design. He and Gilchrist lamented its short runtime, even though it is his first work for a long time that could have been evocative. Ehlrich noted Jesus Is King's contradictoriness due to being equally "reverent and narcissistic, humble and grandiose", calling it "both a tribute to the Lord and a testament to West's unparalleled ability to get in his own damn way". Luke Morgan Britton of NME gave the film three stars out of five, seeing that West's "sublime but flawed visual journey stops short of enlightenment", declaring it truly represents him with its themes of "a search for the sublime, the striving for a better future, the awe-inspiring power of nature," with "a stripped-back, minimalist approach". He complimented the music, cinematography, Sunday Service Choir's presence, and advantageous lack of appearances from West, though noted that the film did not reach its full potential. The Atlantic's Spencer Kornhaber complimented how the film's religious ethos is established early and the group's performances, while feeling impressed by the minimalism and the mixture of "ancient spiritual signifiers" with the unique tones and shapes of West's Adidas Yeezy clothing line. He commented that West does not explain his conversion to Christianity and saw it merely as aesthetic atmosphere, saying his attempt to spread his faith is "oddly cold" and also calling the film bland. In a mixed review for Vulture, Alison Willmore saw its sole audience as West's hardcore fans, noting how the experimental film "feels too ethereal to bear up under much solo scrutiny" and pales in comparison to Runaway due to the lack of a clear narrative or concept. She assured the authorship of Jesus Is King is entirely West's through "a mix of ecstatic spirituality and artistic wankery", seeing it as resembling "a frustrated attempt at conveying a concentrated version of its born-again creator's experiences" that culminates in West focusing on himself. Willmore went on to praise the location, with Britton calling it aligned with West's spiritualism", and make lukewarm comments about the Sunday Service Choir's contributions.

Come My Fanatics...

Come My Fanatics... is the second studio album by English heavy metal band Electric Wizard. The album was released in January 1997 on Rise Above Records and was produced by Rolf Startin, Mike Hurst and band member Jus Oborn. It was the group's follow-up to their eponymous album Electric Wizard. Oborn described the release as a reaction to the music on the earlier album, which he had felt was not as heavy as he wanted the group to sound. The songs on Come My Fanatics... were described by Lee Dorrian, Rise Above Records owner, as breaking from the traditional doom metal style, with an unpolished and chaotic approach. The thematic elements of the album draw from 1970s horror films, biker movies and the writings of H. P. Lovecraft; there are three songs about leaving Earth to avoid an impending environmental disaster. The album release was followed by a tour with the band Cathedral and positive reviews from heavy metal magazines Metal Hammer, Terrorizer and Kerrang!. Come My Fanatics... continued to receive praise in retrospective reviews, with Terrorizer declaring it "the wake-up that the UK doom scene needed" and Dorrian describing it as "the turning point of everything". ## Production ### Background Prior to recording with Electric Wizard, lead singer Jus Oborn was mostly interested in the death metal genre. After listening to Black Sabbath under the influence of mushrooms, he was inspired to take his music in a different direction. At the time, Oborn was a member of a group called Eternal, who were drifting apart; Oborn said, "I had a vision of doing the doom stuff. The rest of the guys were just into Alice in Chains." After forming in 1993, Electric Wizard recorded their self-titled debut album, which was released in 1996. AllMusic editor Eduardo Rivadavia described the album as "impressive" but considered Electric Wizards music to be "pretty standard doom fare for the time." Oborn was not happy with the recording of Electric Wizard, finding it lighter-sounding than they had wanted. He said, "We went to a big fancy studio and we were like, 'Oh no, we've gotta do as we're told". This led to the sound of their follow-up album, Come My Fanatics...; Oborn said, "it had to sound right this time". About the recording period, Oborn said, "Our country wasn't in a great state. And metal was totally fucked at that point. We were really making a musical statement. When you're younger everything is a reaction against the world." ### Recording Oborn found producer Rolf Startin, who shared the band's desire for rawness and feeling, listed in the Yellow Pages. Startin was prepared to build the studio around the band, supplying the band with vintage amplifiers. Come My Fanatics... was recorded at Red Dog Studios in July 1996. Oborn later described the album's production as "very technically inept", and said it was "very difficult to deliberately do things badly. It just happened. It was exactly the sound we were trying to create." Some songs on the album contain samples from films such as "Return Trip", which contains a sample of the film Cannibal Ferox. The horror film samples came from video nasties passed under the table at the market stall in Wimborne in Dorset, where the members of the group lived. The song "Invixor B/Phase Inducer" is an instrumental track, with an introduction that came about by accident when the band experimented with a drum & bass sampler in the studio. Oborn said the group were "quite impressed, even though we didn’t like the music". He mentioned specific albums, such as Six Million Ways to Die "seemed quite brutal in the use of samples and that was something we thought we could bring to our music". The album's closing track, "Solarian 13" is also an instrumental track. ## Music and themes Rise Above Records owner Lee Dorian stated that the group's sound on the record "somehow managed to break the mould of traditional doom metal", noting that previous doom metal groups are "very morose and slow and heavy which can be very off-putting" while Electric Wizard had a guitar sound that had a "completely unpolished approach to the way they present themselves". Dan Franklin, writing for The Quietus, stated the group's style of music was "completely contrary to the surprisingly spiritual tendencies of Trouble and others", noting its "thick, chaotic and crushing sound". A 29 second sample of Electric Wizards's "Wizard in Black" featuring the groups use of sampling echoed these statements, noting that the album "somehow upped the sonic ante through a wall of sludge so thick that even the most experienced of metal heads couldn't help but be overwhelmed by its power". Dorian also found the album difficult on a first listen, stating: > When I first listened to it I was like 'Fucking hell I can't hear the drums' but realized that it was a good thing that they were completely buried. I just got completely stoned and listened to it on my bed and thought it was the most amazing thing I'd ever heard. The music on the album draws influences from 1970s horror films, biker movies and the works of H. P. Lovecraft. Oborn had read Lovecraft since his early teenage years and admired his work, particularly the idea "that art should be otherworldly and have this sense of fear and something beyond our understanding. I took that as more of an influence than literally talking about tentacle-headed monsters, which only crosses the surface level." Oborn also said Come My Fanatics... was conceived as a "piece of escapism", developed from an "insular, underground feeling that we were heading to our doom as a planet and no-one overground had a fucking clue about it". He stated that final three songs on the album, "Ivixor B / Phase Inducer", "Son of Nothing" and "Solarian 13", were a concept about leaving Earth because it was "so fucked up". He said the ethic was that the planet was heading towards an environmental disaster and: > ... the powers that be aren’t doing anything about it and don’t care about the poorer people. So that was behind it all. It might seem more widely recognised now, but that's more to do with the internet and people's education about the way the world is. Back then you were considered quite a paranoid, underground freak if you thought the world was controlled by the powers that be and no-one really cared about us. ## Release Come My Fanatics... was released in January 1997 by Rise Above Records. The album did not reach chart in the United Kingdom. The label's founder Lee Dorian had previously tried to promote doom metal music in the United Kingdom through compilation albums such as Dark Passages, featuring bands including Penance, Revelation and Mourn, to define a British scene. Dorian later said the release of Come My Fanatics... was "the turning point of everything". Terrorizer echoed these statements in 2012, calling the album "the wake-up that the UK doom scene needed and proved it wasn't just about frilly shirts and gothic morbidity". Come My Fanatics... received several re-releases in 1999; Rise Above re-released it on 19 April 1999 with new artwork. The new cover depicts Anton LaVey and his disciples and is based on still from a 1971 television documentary called The Power Of The Witch. To create the cover, Oborn paused his videotaped copy of the documentary and traced the image from his television screen; he added the space background later. The Music Cartel distributed the album in the United States in 1999. Come My Fanatics... was released in Japan with the bonus track "Return to the Sun of Nothingness". Both Electric Wizard and Come My Fanatics... were re-packaged as a single release in 1999. In Finland, the album charted in 2011, charting at number 28 on the chart. ### Touring and follow-up After the initial 1997 release of the album, Electric Wizard toured the United Kingdom with Cathedral in February 1997, and in Europe with labelmates Mourn. This was planned to be followed with a tour supporting The Blood Divine in early April with Orange Goblin, which Electric Wizard later dropped out of. Following the release of Come My Fanatics... the group released the EP Supercoven (1998). Their next studio album, Dopethrone, was not released until four years later. Oborn said of the hiatus, "I would safely say there was a period where we split up. We just didn't tell anybody." ## Reception On its release, Come My Fanatics... received positive reviews from heavy rock magazines Terrorizer, Kerrang! and Metal Hammer. Metal Hammer called the album "a right corker" while Terrorizer said, "this is out there in orbit with Hawkwind's 'Space Ritual', and that's a compliment in its own way. Wastoids they are, but the 'Wiz have made a great Stoner Doom record." Kerrang! stated Electric Wizard "have delivered one of the most punishingly heavy albums in recent memory", concluding that "Classic is the only word for it". From retrospective articles and reviews, The Guardian said, "Oborn’s vision of creating the heaviest music imaginable was put firmly into practice for 1997’s still astonishing Come My Fanatics ... , a record that was so devastatingly slow, heavy and obnoxious that it made everything else around it sound anaemic and pedestrian". AllMusic called it "absolutely colossal" and "essential doom", noting it was "somewhat less immediate than its predecessor ... even the most experienced of metal heads couldn't help but be overwhelmed by its power", and that tracks such as "Doom-Mantia" and "Son of Nothing" would "test the patience of uninitiated listeners before drifting into focus through billowing clouds of smoke, but the ultimate religious experience is well worth the lengthy conversion process". In an overview of the bands discography, Harry Sword of Noisey declared that Come My Fanatics... was when Electric Wizard "really hit home, its turgid doom imbued with sleazy cosmic reach and a blackened punkish energy." and that it "ushered in a new era for doom, engineering a full-on scuzz attack that felt cosmic in reach and was anchored by a very human rage." Metal Hammer included the album in their 2020 list of the top 10 1997 albums. Oborn later stated that Come My Fanatics... is his favourite of the group's earlier material. He said, "I can’t honestly remember doing it, so it is like listening to another band and I do like that album a lot. I remember doing Dopethrone and it was particularly hard work and a miserable experience so I don't look at it fondly." ## Track listing All songs by Electric Wizard. Lyrics by Jus Oborn. ## Personnel Credits adapted from the liner notes - Jus Oborn – lead guitar, vocals, effects, producer, mixing - Tim Bagshaw – lead bass, effects - Mark Greening – drums, concussion - Rolf Startia – producer, mixing - Mike Hurst – producer, mixing ## See also - 1997 in music - 1997 in British music - 1997 in heavy metal music

Mississippi Highway 602

Highway in Mississippi

Mississippi Highway 602 (MS 602) was a highway in southern Mississippi. Its southern terminus was at MS 43, which is now inside the John C. Stennis Space Center. The road traveled a slightly curved route to its northern terminus at U.S. Route 11 (US 11) and MS 43 in Picayune. MS 602 was designated in 1958, only in Pearl River County. The route was extended south into Hancock County two years later. MS 602 was then removed from the state highway system in 1967, less than a decade after it was designated. ## Route description As of 1965, the route was located in northwestern Hancock and southern Pearl River counties. MS 602 started at MS 43, where which is now part of the Stennis Space Center. The road, known as Flat Top Road, traveled northeast through the dense forest. About two miles (3.2 km) north of the southern terminus, MS 602 intersected Texas Flat Road. The road then crossed over Dead Tiger Creek, and shifted back slightly to the west. MS 602 crossed Stall and Everett Branches before turning northwest. It intersected Lott McCarty Road before entering Pearl River County. The route turned west shortly inside the county, traveling toward Picayune. A short section of the former route is now part of MS 43. As MS 602 entered Picayune, it became East Canal Street. The route ended at US 11, next to a railroad track. The road continued as West Canal Street. The road was maintained by the Mississippi State Highway Commission and Hancock County, as part of the state highway system. ## History MS 602 first appeared in maps in 1958, connecting from MS 43 and US 11 in Picayune, to the Pearl River–Hancock county line. The route was fully paved at that time. Two years later, MS 602 was extended into Hancock County, connecting back to MS 43. The section was maintained by the county. The Stennis Space Center was built on a section of the route in 1965, and by 1967, the route was removed from the state highway system. MS 43 was rerouted onto a part of MS 602, bypassing the space center, while the old route of MS 43 through the space center was redesignated as MS 607. ## Major intersections The route is documented as it existed in 1965. ## See also - Mississippi Highway 600

Bad Blood (The X-Files)

"Bad Blood" is the twelfth episode of the fifth season of the American science fiction television series The X-Files. Written by Vince Gilligan, directed by Cliff Bole, and featuring guest appearances from Luke Wilson and Patrick Renna, it aired in the United States on February 22, 1998, on the Fox network. The episode is a "Monster-of-the-Week" story, unconnected to the series' wider mythology. The episode received a Nielsen rating of 12.0, being watched by 19.25 million viewers. In addition, "Bad Blood" received largely positive reviews, with many critics praising the episode's humor. The show centers on FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) who work on cases linked to the paranormal, called X-Files. Mulder is a believer in the paranormal, while the skeptical Scully has been assigned to debunk his work. In this episode, Mulder and Scully must report to their supervisor, Assistant Director Walter Skinner (Mitch Pileggi) after Mulder kills a young man he believes to be a vampire. The agents each tell a different version of events, leading them to realize the inconsistencies in their investigation. "Bad Blood" was inspired by an episode of The Dick Van Dyke Show in which the main characters tell different versions of a fight they had. According to critical analysis of the episode, "Bad Blood" explores the dynamics of the relationship between Mulder and Scully. In addition, some scholars argue that by Scully telling the tale from a perspective opposed to Mulder's, the episode subverts the male gaze (the concept that films tend to cater to male viewers and perspectives). The episode's makeup and special effect coordinators used various techniques to create many of the effects seen in the episode, such as the vampire teeth, the glowing eyes, and the bite marks. ## Plot One night, Fox Mulder (David Duchovny) kills a young man who Mulder believes is a vampire, but who has pointed dentures instead of actual fangs. Afterwards, he and his FBI partner, Special Agent Dana Scully (Gillian Anderson) must report to Assistant Director Walter Skinner (Mitch Pileggi). Before they do so, they attempt to get their stories straight. Scully tells her version of the story via a flashback to the previous day. She arrives at work and Mulder tells her about a murder in Texas, which he believes to be the work of vampires. In her version, Mulder is exuberant, insensitive, and irritating, while she is calm and mindful of her thoughts. The agents travel to the small town of Chaney, Texas, where they meet Sheriff Hartwell (Luke Wilson), whom Scully finds highly charming. Mulder and Hartwell leave to investigate further while Scully autopsies the body. She discovers that the victim, whose last meal had been pizza, was incapacitated with chloral hydrate. She returns to the motel room and orders a pizza, but Mulder soon appears and sends her back to autopsy another body. She leaves him just as her food is delivered. When she finds that the second victim had also ingested chloral hydrate in a pizza, she realizes Mulder is in danger and returns to the motel room. She finds him about to be attacked by the pizza delivery boy, Ronnie Strickland (Patrick Renna). She shoots at Ronnie, who runs off into the woods. When she catches up to him, Mulder has gotten there first and hammered a stake into Ronnie's heart. Mulder tells Scully his version. In his recollection, he is sensitive and polite to Scully, while she is dismissive and irritable, and clearly enamored with Sheriff Hartwell (who, in Mulder's version, is far less refined and has obvious buck teeth). While Scully is performing the autopsy, Mulder and Hartwell get a call to go to the local RV park, where there is "a situation". They find another dead body, apparently a victim of the same attacker. Mulder returns to the motel room; after Scully has left, he eats her pizza and realizes that he has been drugged. Ronnie enters, with glowing green eyes, and prepares to attack Mulder, but Mulder manages to postpone his demise by scattering sunflower seeds all over the floor, which Ronnie compulsively starts to pick up. Scully enters and shoots Ronnie, but the bullets have no effect, and Ronnie runs out with Scully in pursuit. Mulder recovers from being drugged and chases after Ronnie. Back in the office, Scully says that no one will believe his story given their diverging statements and the fact that Ronnie was apparently a human. Meanwhile, a Texas coroner prepares to perform an autopsy on Ronnie's body. When he removes the stake, Ronnie wakes up and escapes. Skinner sends Mulder and Scully back to Texas to investigate. Scully stakes out the cemetery with Sheriff Hartwell, while Mulder goes to the RV park. As they wait, Sheriff Hartwell gives Scully a hot drink, apologizes to her on behalf of Ronnie, and says that he makes them all look bad, making it clear that he too is a vampire. Scully belatedly realizes she has been drugged, and before she loses consciousness, she sees Sheriff Hartwell's eyes turning green. At the RV park, Mulder finds Ronnie. As he tries to arrest him, Mulder is surrounded and overwhelmed by a group of people with glowing green eyes. He wakes up the next morning in the RV park, in his car, where he is rejoined by Scully. They are both unharmed and the vampires have disappeared. Back in Washington, they give their unified report to Skinner, who is dumbfounded by what he has heard. ## Production ### Writing and filming "Bad Blood" was written by Vince Gilligan, making it his fifth writing credit for the season. Aware that an episode script was due after the Christmas break of 1997, he had been working on a script that would have taken the form of an Unsolved Mysteries episode, with unknown actors playing Mulder and Scully and Robert Stack appearing in his role as narrator. Under pressure to complete the script, Gilligan scrapped the idea because he "just couldn't figure out how to do it". (The series would later explore the idea of an X-Files crossover in the guise of non-fiction with the seventh season episode "X-Cops", also penned by Gilligan.) With the help of executive producer Frank Spotnitz, Gilligan came up with a new idea inspired by an episode of The Dick Van Dyke Show, called "The Night the Roof Fell In", in which the main characters, Rob and Laura Petrie, tell different versions of a fight they have had. Gilligan said of the idea, "I just thought it was a cool way to tell a story." With two versions of the same story taking up much of the episode, Gilligan knew that he would have to keep the plot simple, and so he settled on a vampire story that everyone could easily follow. Both Mulder and Scully's unique versions of the episode were filmed back to back, utilizing the "exact same sets and camera angles". The RV park that was featured in the episode stood on the site of an old sawmill that had burned down; in fact, this mill had been used by the show in the fourth season episode "Gethsemane". ### Casting and effects Luke Wilson was cast to play Sheriff Hartwell; he had previously starred in the comedy film Home Fries (1998), which had been scripted by Vince Gilligan. Local Vancouver comedian and actor Brent Butt played the coroner. Patrick Renna played Ronnie Strickland. He said of the part, "Before we started I asked if Ronnie was pretending to be a moron. [The writers and producers] told me, 'No. He's really just a moron.'" The out of control RV was created by the show's special effects coordinator, David Gauthier; a secondary steering wheel was rigged up so that a stunt driver could steer the car from the back of the vehicle, out of the camera's sight. Wilson and Renna were fitted with faux vampire teeth—which were sardonically labelled "funny fangs"—courtesy of special effects makeup coordinator Toby Lindala. Wilson later recounted that they fit comfortably in the actor's mouth, musing, "The retainers I had to wear as a kid never fit as well." In order to create the glowing green eyes of the vampires, fluorescent material was glued to the actors' eyelids. However, because they were unable to see, this gave the vampires a "somewhat vacant" stare. The corpses with fangs marks were created by makeup artist Laverne Basham. In order to create a suitable model for the bite marks, Gilligan bit the back of his hand "to show [Basham] exactly what he wanted." ## Themes According to Susanne Kord and Elisabeth Krimmer, "Bad Blood" explores the dynamics of the relationship between Mulder and Scully by "develop[ing] the dysfunctional potential of [their] routine interactions." In "Scully Hits the Glass Ceiling: Postmodernism, Postfeminism, Posthumanism and The X-Files", Linda Badley suggests that The X-Files often subverts the concept of the male gaze through the whole series and "Bad Blood" includes an example of this, allowing Scully to be the one that gazes at Sheriff Hartwell. Michelle Bush, in her book Myth-X, described the episode as allowing the viewer "a peek inside [Mulder and Scully's] heads" by showing how they see themselves and each other, as well as "their insecurities about their attractiveness to the other". The title "Bad Blood" can be applied to the tension between the two characters in the episode. She described how in each of their stories they try to describe themselves in the way the other would find attractive. ## Reception ### Ratings "Bad Blood" was first broadcast in the United States on February 22, 1998, on the Fox network. In its original broadcast, it was watched by 19.25 million viewers, according to the Nielsen ratings system. It received a 12.0 rating/17 share among viewers meaning that 12.0 percent of all households in the United States, and 17 percent of all people watching television at the time, viewed the episode. The episode was one of eight featured on Revelations, a DVD released prior to the release of the 2008 movie, The X-Files: I Want to Believe. ### Reviews "Bad Blood" received largely positive reviews from critics. In a 2000 review of season five for the New Straits Times, Francis Dass called the episode "an absolute gem. The most hilarious X-Files episode I have ever seen." Rebecca Traister of Salon.com called it "possibly the best X-Files episode of all time". In a 2008 review of the Revelations DVD, which contained "Bad Blood", Erik Henriksen of The Portland Mercury praised the way the writers "managed to tweak their genre formulas" and said of the episode, "It's witty and quick and features a great performance from Luke Wilson". In a review of Revelations for the Reading Eagle, Gina McIntyre called the episode "a hilarious riff on how [Mulder and Scully] view each other". Zack Handlen of The A.V. Club wrote a positive review of what he described as one of his "top five favorite X-Files". He called the script "very smart" and compared the story to the plot of Rashomon. He said "Yes, 'Bad Blood' can be goofy, but it's a good kind of goofy, the kind that pokes holes in characters in ways that just make them more lovable." Robert Shearman and Lars Pearson, in their book Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen, rated the episode five stars out of five and wrote "Now that's how you tell a vampire story!" The two praised Gilligan's use of humor as well as the episode's examination of both Mulder and Scully's differing points of views. Shearman and Pearson noted that "the gimmick here isn't supernatural, but structural", and called the episode's framing device "subtly done", which resulted in its "brilliance". Review website IGN named it the seventh best standalone X-Files episode of the entire series. Rob Bricken from Topless Robot named "Bad Blood" the funniest X-Files episode. An article in The Montreal Gazette listed "Bad Blood" as the ninth best stand-alone episode of the series. Tom Kessenich, in his book Examination: An Unauthorized Look at Seasons 6–9 of the X-Files, named the episode one of the "Top 25 Episode of All Time" of The X-Files, ranking it at number 19. He called the episode "a satiric X-File at is finest." Den of Geek writer Juliette Harrisson named it the "finest" stand-alone episode of season 5 and wrote, "for sheer fun and narrative playfulness, the winner has to be Bad Blood". Not all reviews were so glowing. Paula Vitaris from Cinefantastique gave the episode a more mixed review and awarded it two-and-a-half stars out of four. Although she enjoyed the comedic elements of the episode, she was somewhat critical of the underlying issues, most notably the way Mulder and Scully viewed each other in the episode. She wrote that, "their relationship seems to be a strangely passive-aggressive one". Vitaris also was critical of the fact that Mulder was not guilty over the fact that he may have killed an innocent boy. Gillian Anderson has described "Bad Blood" as one of her favorites of the series, commenting "Oh, yes! I loved that episode. As far as I'm concerned it's one of our best ever. I think it really showed how well David and I can work together". ## See also - List of unmade episodes of The X-Files - List of vampire television series

Alekseyev I-212

1948 fighter prototype by Alekseyev

The Alekseyev I-212 was a twin-engined, jet fighter designed in the USSR in 1947 at OKB-21 (OKB - experimental design bureau). It was a two-seat variant of the I-21 (Istrebitel' - Fighter) designed in response to a requirement for a very long-range fighter issued by the Voenno-Vozdushnye Sily (VVS), (Soviet Air Forces), in 1946. Intended as an escort fighter, it was also designed for use as a night fighter and reconnaissance aircraft. No prototype was built, although some parts may have begun building before the project was completed. ## Development After working as Lavochkin's right-hand man during World War II, Semyon Alekseyev was appointed as Chief Designer of OKB-21 at Gor'kiy in 1946. The Council of the People's Commissars directed Alekseyev, among others, to develop jet fighters using more powerful engines than the captured German examples and Soviet-built copies. The OKB was tasked to design a single-seat jet fighter that could meet the very demanding specification of a maximum speed of 980 km/h (610 mph) and a range of 3,000 km (1,900 mi) with drop tanks. The OKB responded with the I-21, which was planned to be built in several variants. Development of the I-212, one such variant, began in 1947 as a twin-engined, all-metal, two-seat jet fighter. The round, streamlined fuselage was optimized to reduce drag and house the considerable amount of equipment and fuel required by the VVS. It had mid-mounted straight laminar flow wings and the engine nacelles were mounted in the middle of the wing, with the wing spars continued by banjo rings around the engines. The cruciform tail unit was swept at 45°. To save weight, the main load-bearing structures of the airframe were constructed from V-95 aluminium alloy and high-strength steel. Elektron (a magnesium alloy) was used for many components and castings. The aircraft used a tricycle undercarriage with the main wheels retracting into the fuselage. Hydraulically actuated air brakes were fitted either side of the rear fuselage. The pilot and gunner/radio operator sat in tandem, back to back in a single pressurized cockpit, protected by armour plates to their front and rear, as well as by a bulletproof windscreen, seated on ejection seats. The aircraft was intended to use Klimov VK-1 engines, a derivative of the Rolls-Royce Nene II, but the engine was still under development, so less powerful Kuznetsov RD-45s were substituted instead. The aircraft carried a Toryii-1 radar for use by the gunner/radio operator. The primary armament was to have been four 23 mm (0.91 in) Nudel'man Suranov NS-23 autocannon mounted in the nose, each with 150 rounds per gun (rpg), and a remote controlled tail barbette, armed with a pair of 20 mm (0.79 in) Berezin B-20 autocannon also equipped with 150 rpg. The design team considered several variations, the first of which was two Nudel'man Suranov NS-23s with 150 rpg and a 45 mm (1.8 in) Nudel'man Suranov NS-45 autocannon with 45 rounds in the nose of the aircraft and a pair of NS-23 in the tail barbette. The second alternative consisted of two 37 mm (1.5 in) Nudel'man Suranov NS-37 and a 57 mm (2.2 in) Nudel'man Suranov NS-57 autocannon in the nose. A single hardpoint under each wing could carry a single 500 kg (1,100 lb) bomb or a drop tank carrying 550 kg (1,210 lb) of fuel. Despite reports that a prototype began taxiing tests on 30 June 1948, it is now clear that no prototype was actually built and that only manufacturing of the tailplane may have begun. ## Variants - I-212: Initial version, never built. - I-213: Proposed heavier version with more fuel and only two forward-facing NS-23s and a single NS-23 in the tail barbette. - I-214: Proposed version with the tail barbette replaced with a rearwards-facing radar and heavier forward-facing armament. - UTI-212: Proposed training variant of the I-212 with both crewmen facing forward. ## Specifications (I-212 (estimated)) ## See also

Talbot Samba

The Talbot Samba is a city car manufactured by the PSA Group in the former Simca factory in Poissy, France, and marketed under the short-lived modern-day Talbot brand from 1981 to 1986. Based on the Peugeot 104, it and the Talbot Express were the only Talbots not inherited from Chrysler Europe, engineered by PSA alone. It was also the last new Talbot car to be launched. Its demise in 1986 was effectively the end of the Talbot brand for passenger cars. Launched initially as a three-door hatchback, it was also for some time the only small car available in a factory-ordered cabrio body style, and the most economical car in Europe. ## Development ### Background The PSA Group, formed in 1976 when Peugeot bought out its competitor, Citroën, took over the former Chrysler Europe in 1979; one of its first decisions was to rebrand all of the models manufactured in the French and British factories to Talbot. Among the models inherited from Chrysler was the Scottish-built rear-wheel drive Chrysler Sunbeam, the only small car in the lineup. The Sunbeam was originally conceived by Chrysler as a stopgap model, developed to keep the Linwood works running—it was based on the running gear of the earlier Avenger made there—while helping the company to maintain a foothold in the growing small car market. Aware that a more modern design was needed to compete with upcoming front-wheel drive rivals, Chrysler undertook some development work on a shortened version of the Chrysler Horizon (which had the development code C2), dubbed C2-short, but it was cut short by the company's financial problems and plans to divest Chrysler Europe. PSA decided that the Linwood plant would be unprofitable to maintain and should be closed, which meant an end to both the Avenger and Sunbeam model lines, further emphasizing the need for a new small car in the Talbot lineup. On the eve of the 1980s, PSA's city cars lineup consisted of models based on the veteran front-wheel drive 1972 Peugeot 104, which came in a shorter three-door and longer five-door version. Citroën rebadged the short-wheelbase 104 as the Citroën LN, and the long-wheelbase chassis formed the base of the five-door Citroën Visa. ### Decision In 1979, PSA decided that their new small Talbot would also be based on the 104 rather than the Horizon. Keeping the common underpinnings allowed the new model, known internally as project C15 (later renamed to T15 to reflect the brand change from Chrysler to Talbot) to be launched in 1981, in time to replace the Sunbeam when Linwood would close. In order not to create too much internal competition, a wheelbase situated in between the three- and five-door versions of the 104 was chosen. This made the projected model slot in size slightly below popular superminis such as the Ford Fiesta, but above the city cars, including the about-to-be-launched Austin Metro. ### Styling As with previous Talbot and Chrysler Europe models, styling of the T15 was the responsibility of the British design centre in Whitley, Coventry. The stylists were limited by the need to retain the entire body structure of the 104, and allegedly were given Peugeot's own proposal of a 104 facelift as a starting point. The resulting design was quite different from and more modern-looking than its progenitor; only the bonnet and tailgate were shared, and the car was given a distinctive front end in Chrysler/Talbot "international" style. ## Launch Production of the new car started in October 1981, and it was officially launched as the Talbot Samba in December. Unlike the Horizon, 1510/Alpine or Solara, which were made simultaneously in France and England, the model was assembled only in Poissy. The engine lineup included three versions of the four cylinder PSA X engine, which the Samba shared with its Peugeot and Citroën siblings, coupled with three trim levels. The base LE and LS came with the 954 cc XV, the GL with the 1124 cc XW and the top-of-the-line GLS' with the largest 1360 cc XY. The GL was rated as "Europe's most economical car" according to the official EEC fuel consumption figures, bettering the previously triumphant Renault 5, but later lost the title to the Austin Metro. ### Cabrio In an effort to make the vehicle stand out in the market against similar rivals, which included its own derivatives, Peugeot added a more glamorous two-door cabriolet to the standard three-door hatchback. Although announced at the hatchback's launch, the first models were not available until 1982. Designed and built by the Italian coachbuilder Pininfarina, who had been building open-top Peugeots since the 1960s, it came only with the 1360 cc engine; two engine versions were offered, 53 or 59 kilowatts (72 or 80 PS)—the former was dropped after 1984, at which time a slightly revised cabriolet was released featuring the later style 104 dashboard, twin carburettors and a lined hood; the 80bhp engine was shared with the Rallye. At the time of its launch it was the only cabrio small car available from the manufacturer, although other models subsequently entered the market segment created by the Samba, including PSA's own Citroën Visa Decapotable. Pininfarina built 13,062 Samba cabriolets. ### Rallye Following the rallying successes of the Simca 1000 and the Talbot Sunbeam, PSA launched the Samba Rallye. Fitted with the 1219 cc XZ version of the X engine, delivering 66 kilowatt (90 PS), it came in either white or red, with a hood scoop and side stripes. In 1984, a version with the 1360 cc unit producing 59 kilowatt (80 PS) was launched, without the stripes. A special rallye-only Group B model, officially called the Peugeot Talbot Sport Samba Rallye preceded the later Peugeot 205 T16, with a 1285 cc, 96 kilowatt engine (130 PS). ## Later developments In 1982, the Talbot Group was merged into Peugeot within PSA, and responsibility for the model was devolved to France. The Whitley design studio was dissolved, and some of the designers crossed over to British Leyland, where they joined their former boss Roy Axe. PSA had by then already started work on a replacement for the Samba, based on the Citroën AX, a few prototypes of which—essentially rebadged AXs—were created in 1983/84. The Samba sold reasonably well throughout 1982 and 1983, after which sales began to suffer, partly because of the model's aging and partly because of competition from the very popular Peugeot 205, which created strong internal competition within PSA for the little Talbot. To sustain interest in the Samba towards the end of its life, PSA launched a few concept and special versions of the model. The Copacabana was a Samba-based concept car, featuring body elements painted in garish colors. It was followed by the 1984 Samba Sympa production model, targeted at "young buyers", which came in silver metallic paint, with a choice of yellow, red or blue highlights and either a radio or a sunroof. In 1985, the sunroof became standard and only yellow highlights were available. The Samba Bahia (marketed as the Samba Trio in the UK) was a 1985 model, also targeted at younger customers. It came with the 1.1 litre engine, denim-covered seats, and a sunroof, and was painted in metallic blue. The Samba Style model was launched with both radio and sunroof as standard, but not the colorful highlights, essentially to facilitate the sales of the last Samba series. The Samba was not the only Talbot model to see customer interest waning; as the 1980s progressed, all Talbots began to sell rather poorly and the range was gradually phased out. Peugeot had been working on developing a replacement for the Samba as late as 1984, which would have been based on the forthcoming Citroën AX, but this project was abandoned as Peugeot took the decision to phase out the Talbot brand, and the Peugeot 205 was proving so popular that Peugeot felt little need for a third car of this size within the group. The Citroën AX was launched without a twin in 1986, and the only other Talbot in development, the Arizona family hatchback, was launched instead as the Peugeot 309 at the end of 1985. Production of the Samba ended in May 1986, by which time 270,555 had been made, signalling the beginning of the end of the Talbot brand for passenger cars, the death knell finally sounding the following year when the last Horizon rolled off the production line in Finland, although the brand survived on the Talbot Express, one of the Sevel Sud vans, until 1994. The Talbot Samba is almost extinct on UK roads with only 12 remaining as of 2018. ## Jeremy Clarkson video In Jeremy Clarkson's 2009 DVD Duel, a 1984 Talbot Samba Cabriolet was destroyed by hurling it from a catapult into a wall, with a speed camera nearby showing that its speed was 164 mph (264 km/h) before it hit the wall and exploded.

Gun Hill Road (road)

Street in the Bronx, New York

Gun Hill Road is a major thoroughfare in the New York City borough of the Bronx. The road stretches for 3.5 miles (5.6 km) from Mosholu Parkway in Norwood to Stillwell Avenue in Baychester, near an exit for the Hutchinson River Parkway. Van Cortlandt Park and the Mosholu Golf Course are both located at the western terminus of Gun Hill Road. ## Street description from west to east The west end of Gun Hill Road is at Mosholu Parkway, where the road continues west as Van Cortlandt Park South toward Manhattan College. After an intersection with Jerome Avenue, Gun Hill Road passes to the south of the Mosholu Golf Course. The road name also officially changes from West Gun Hill Road to East Gun Hill Road. At an intersection with DeKalb Avenue in Norwood, the road passes by North Central Bronx Hospital and Montefiore Medical Center. Northwest of there, the road acts as the southern border of Woodlawn Cemetery. At Webster Avenue, Gun Hill Road passes the Williams Bridge station of the Metro-North Railroad. Soon afterward, the road crosses over the Bronx River Parkway, at exit 9. The next major intersection is White Plains Road, which Gun Hill Road intersects within Williamsbridge Square. At this intersection, the road also meets the subway station, which serves the . As the road and enters Williamsbridge, there is an intersection with Boston Road, which carries U.S. 1. Between the DeWitt Place and Sexton Place intersections, the road passes the second subway station for Gun Hill Road, which serves the . Entering the neighborhood of Baychester, the road intersects with Edson and Ely avenues, in which the former acts as the southbound service road for the New England Thruway. Directly afterward, the road intersects with exit 10 for Interstate 95. The road becomes one-way for 0.2 miles (0.3 kilometers) and intersects with Waring Avenue. The road terminates at an intersection with Stillwell Avenue and exit 4S of the Hutchinson River Parkway. ## History During the American Revolution, the road was an important artery over which the British and the colonists fought. In January 1777, the colonists brought a cannon to the top of a hill and fired at the British. The hill, now inside Woodlawn Cemetery, was locally called Gun Hill afterwards. The road was known as Kingsbridge Road (part of the original Boston Post Road) until 1875, when it was renamed Gun Hill Road. It did not originally extend east of White Plains Road but was extended by segments to the Hutchinson River, by 1938. In 1941, the New York City Planning Department proposed the Gun Hill Crosstown Highway as an upgrade, but nothing happened with this plan. In the mid-1960s, the Tri-State Transportation Commission proposed a new route just a mile north of Gun Hill Road called the City Line Expressway; this plan also did not advance. ## Transportation ### Commuter rail The Williams Bridge station, a former New York Central Railroad station, now serves the Metro-North Railroad's Harlem Line. It is located near the intersection with Bronx River Parkway. ### Subway There are two New York City Subway stations on Gun Hill Road: - Gun Hill Road on the IRT White Plains Road Line at White Plains Road, serving the . The Third Avenue EL train (8) served the now abandoned lower level of this station. - Gun Hill Road on the IRT Dyre Avenue Line at Seymour Avenue, serving the ### Bus Several buses travel on Gun Hill Road. The primary routes that traverse the corridor are the Bx28 and Bx38. ## Major intersections ## See also

Detour (The X-Files)

"Detour" is the fourth episode of the fifth season of the American science fiction television series The X-Files. It was written by executive producer Frank Spotnitz and directed by Brett Dowler. The episode aired in the United States on November 23, 1997, on the Fox network. The episode is a "Monster-of-the-Week" story, a stand-alone plot which is unconnected to the series' wider mythology. "Detour" received a Nielsen rating of 13.2, being watched by 22.8 million viewers, and received mixed reviews from television critics. The show centers on FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) who work on cases linked to the paranormal, called X-Files. Mulder is a believer in the paranormal, while the skeptical Scully has been assigned to debunk his work. In this episode, Mulder and Scully, while traveling to a conference with two other FBI agents, stop at a roadblock and join a nearby investigation of attacks by an unidentified predator. Executive producer Frank Spotnitz was inspired to write the episode after watching the 1972 American thriller film Deliverance. "Detour" took nineteen days to film, over eleven more than the norm for The X-Files. Shooting was hampered by incessant rain. The episode's villains were created through a mixture of elaborate "bark suits" and digital technology. In addition, the episode contained several cultural references. ## Plot Two men are surveying an area of the Apalachicola National Forest in Leon County, Florida when they are attacked and killed by unseen assailants with glowing red eyes. Later that day, Michael Asekoff and his son, Louis, are hunting for opossums with their dog, Bo, in the same stretch of woods. Upon discovering a surveyor's bloody jacket, Michael orders Louis to take Bo and run home. As Louis and the dog head off into the woods, two shots are heard. Meanwhile, Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) are carpooling with FBI agents Michael Kinsley and Carla Stonecypher en route to a "team building" seminar. When they are stopped at a roadblock by local police, Mulder decides to investigate, in part to get away from Kinsley and Stonecypher, whose perky nature annoys him. As he and Scully venture into the woods, they are informed by Officer Michele Fazekas that no conclusive evidence has been found to support Louis' report of a shooting. Mulder sees this as a perfect opportunity to ditch the seminar. Later, Mulder explains to Scully that no species native to North America will attack a stronger prey animal when there is a weaker target available, so it makes no sense that an animal would go after Asekoff and ignore his young son. At the Asekoff residence that night, Bo becomes upset and begins barking. Mrs. Asekoff lets him out, but when she attempts to retrieve him, the dog refuses to budge. She turns around to discover that the door has been shut and locked from the inside. Louis hears his mother's screams and climbs out of bed, but a dark, shadowy figure with red eyes corners him. Louis barely escapes through the dog door and runs into Mulder, informing him that the creature is inside the house. The next morning, Mulder shows Scully some tracks inside the house that appear to be human. Based on the weight distribution, however, the assailant evidently travels on the balls of its feet rather than from heel to toe. Additionally, that the creature lured Louis' mother out of the house in order to get to him suggests to Mulder that the creatures are paranormal in nature. Jeff Glaser, a local technician armed with a FLIR device, joins Fazekas, Mulder, and Scully to search the woods for the creature. They soon spot two creatures on the FLIR which travel in separate directions, causing the four to split up. Fazekas is attacked and disappears. Mulder deduces that the creatures may be related to cryptids such as the Mothman. After a brief encounter with the creatures, Glaser takes off running and is swiftly attacked by one of them. Mulder is grabbed by the other creature, though it releases him after Scully manages to wound it with her firearm. Mulder, wounded in the attack, and Scully spend the night in the woods together. The next morning, Scully falls through a hole in the ground while foraging for food and finds herself in an underground chamber where the bodies of the missing people are being stored. Spotting a pair of red eyes, Scully realizes she is trapped with one of the creatures and does not have her firearm with her. Mulder drops his down to her as the bushes behind him begin to rustle. He jumps into the hole as Scully shoots the creature and kills it. As they examine the dead creature, they notice its almost human-like features and wood-like skin. Nearby, the words "ad noctem" (Latin for "into darkness") are found carved into a tree trunk. Mulder, Scully, Asekoff, and Fazekas are rescued, but there is no sign of Glaser or the other creature. Upon leaving the forest, Mulder states that the creatures may, in fact, be evolved versions of the first Spanish conquistadors who had first settled in the forest 450 years before. Although Kinsley finds this idea ridiculous, Mulder believes that centuries of seclusion could be adequate for such drastic adaptations to happen. Afterwards, Mulder realizes that the creatures presume others' presence in their territory as threatening and rushes to the hotel room where Scully is packing her things. After ascertaining that she is finished packing, he firmly urges her to vacate the room, which she does. As Mulder closes the door behind them, the camera then pans under the bed, where a pair of glowing eyes open. ## Production Executive producer Frank Spotnitz was inspired to write the episode after watching the American thriller film Deliverance (1972). According to Spotnitz, "The idea of being stranded in a hostile environment [wa]s very interesting to me and so [wa]s the idea of something moving the brush that you can't see." The ending was left intentionally ambiguous, because, as Spotnitz reasoned, "It's scarier if you think [the monster] could still be out there." When the script was undergoing a rewrite, series writer Vince Gilligan helped by proposing a few story elements, including Mulder and Scully partaking in a "team builder" exercise. Initially, scenes were filmed at the Lower Seymour Conservation Reserve in North Vancouver. Although the typical shooting time for an episode of The X-Files is eight days, "Detour" took nineteen days to film. To make matters more complicated, "it rained every day", according to second unit director Brett Dowler. This put a strain on the production crew because almost every main shot was slated to be outdoors and in the daylight. Because of the massive delays, changes were made: the actors' schedules were adjusted, Kim Manners was brought in to assist Dowler, and filming later moved to a soundstage to avoid the incessant rain. Spotnitz later noted, "I thought I'd come up with a very simple concept. Literally, one that was easy for the props people and all the other departments." Initially, the producers wanted the antagonists of the episode to blend into the background using practical effects. Special effects supervisors Toby Lindala thus created unique "bark suits", but these suits proved awkward and demanding, leading to most of the effects being done on a computer during post-production. Visual effects supervisor Laurie Kallsen-George was tasked with creating the glowing red eyes of the monsters, which she created by merging various "eyeball images"—including shots of her family's dog—to achieve the desired effect. ## Cultural references The plot and nature of the episode resemble the film Predator (1987), in which a creature that is able to perfectly camouflage itself, almost to the point of complete invisibility, stalks several humans in a dense jungle. While camping in the woods overnight, Scully sings "Joy to the World" by Three Dog Night while Mulder rests so that he can know she is awake and on guard. Originally, Scully was supposed to sing "I'm So Lonesome I Could Cry", a 1949 country song by Hank Williams. However, series creator Chris Carter requested something more "off the wall". Spotnitz, instead, chose "Joy to the World" and later said, "in retrospect, the song was perfect". When talking, Mulder admits that the only time he has ever thought about "seriously dying" was at the Ice Capades. ## Reception ### Ratings "Detour" premiered on the Fox network on November 23, 1997. This episode earned a Nielsen rating of 13.2, with a 19 share, meaning that roughly 13.2 percent of all television-equipped households, and 19 percent of households watching television, were tuned in to the episode. It was viewed by 22.8 million viewers. ### Reviews "Detour" received mixed to positive reviews from critics. Francis Dass of New Straits Times was positive toward the episode, calling it "imaginative". IGN named it the seventh best standalone X-Files episode of the entire series. The site called the sequence wherein "Scully holds a wounded Mulder and sings 'Jeremiah was a Bullfrog' [sic]" the "best scene" of the episode and praised the depth of the characters' relationship. Zack Handlen from The A.V. Club gave the episode an A and called it a "solid" entry in the series. Handlen complimented the episode's cold opening, structure, monster, and the relationship between Mulder and Scully; writing that the "core relationship" between Mulder and Scully "was remarkably strong". He also noted that their conversation in the woods was reminiscent of the third season episode "Quagmire" and was "sweet". Jonathan Dunn, writing for What Culture, highlighted "Detour" for its cinematic appeal and included it in the "5 Episodes [of The X-Files] That Could Be Made Into Movies" list. Other reviews were more mixed. Paula Vitaris from Cinefantastique gave the episode a mixed review and awarded it two stars out of four. She called the scene featuring Scully singing to Mulder "a failed attempt to create 'a special X-Files moment'" and noted that the sequence was "a poor substitute for meaningful dialogue". Vitaris, however, did applaud the guest cast and called the creature's effects "very creepy". Robert Shearman and Lars Pearson, in their book Wanting to Believe: A Critical Guide to The X-Files, Millennium & The Lone Gunmen, rated the episode two stars out of five. The two noted that it replicated "Quagmire" too much for its own good and was "satisfied with the intention alone". They reasoned that because "it's so busy telling us how cute the interplay" between Mulder and Scully is, the episode "forgets to make it any good". Shearman and Pearson also called the Spanish conquistador revelation "so utterly left field it feels self-parodic."

Svalbard and Jan Mayen

Two parts of Norway under separate jurisdictions

Svalbard and Jan Mayen (Norwegian: Svalbard og Jan Mayen, ISO 3166-1 alpha-2: SJ, ISO 3166-1 alpha-3: SJM, ISO 3166-1 numeric: 744) is a statistical designation defined by ISO 3166-1 for a collective grouping of two remote jurisdictions of Norway: Svalbard and Jan Mayen. While the two are combined for the purposes of the International Organization for Standardization (ISO) category, they are not administratively related. This has further resulted in the country code top-level domain .sj being issued for Svalbard and Jan Mayen, and ISO 3166-2:SJ. The United Nations Statistics Division also uses this code, but has named it the Svalbard and Jan Mayen Islands. Svalbard is an archipelago in the Arctic Ocean under the sovereignty of Norway, but is subject to the special status granted by the Svalbard Treaty. Jan Mayen is a remote island in the Arctic Ocean; it has no permanent population and is administered by the County Governor of Nordland. Svalbard and Jan Mayen have in common that they are the only integrated parts of Norway not allocated to counties. While a separate ISO code for Svalbard was proposed by the United Nations, it was the Norwegian authorities who took initiative to include Jan Mayen in the code. Its official language is Norwegian. ## Constituents ### Svalbard Svalbard is an archipelago in the Arctic about midway between mainland Norway and the North Pole. The group of islands range from 74° to 81° north latitude, and from 10° to 35° east longitude. The area is 61,022 square kilometres (23,561 sq mi) and there were 2,572 residents in 2009. Spitsbergen is the largest island, followed by Nordaustlandet and Edgeøya. The administrative center is Longyearbyen, and other settlements, in addition to research outposts, are the Russian mining community of Barentsburg, the research community of Ny-Ålesund and the mining outpost of Sveagruva. The Svalbard Treaty of 1920 recognizes Norwegian sovereignty, and the 1925 Svalbard Act made Svalbard a full part of the Kingdom of Norway. The archipelago is administered by the Governor of Svalbard, which is subordinate to the Norwegian Ministry of Justice and Public Security. Unlike the rest of Norway (including Jan Mayen), Svalbard is a free economic zone and a demilitarized zone, and is not part of the Schengen Area nor the European Economic Area. ### Jan Mayen Jan Mayen is a volcanic island in the Arctic Ocean located at the border of the Norwegian Sea and the Greenland Sea. The single island covers an area of 377 square kilometres (146 sq mi) and is dominated by the 2,277-metre (7,470 ft) tall Beerenberg volcano. The island's only population is a combined military and meteorological outpost that operated a LORAN-C transmitter at Olonkinbyen. The Norwegian Meteorological Institute annexed the island for Norway in 1922. On 27 February 1930, the island was made de jure a part of the Kingdom of Norway. Since 1994, the island has been administered by the County Governor of Nordland, with some authority delegated to the station commander. Before 1994, the Governor of Svalbard administered Jan Mayen. ## Application The ISO designation is congruent with an equivalent United Nations Statistics Division category and users of these classification systems may in some cases report separately for "Svalbard and Jan Mayen Islands" instead of rolling up this information into the "Norway" category. Neither Svalbard nor Jan Mayen have their own flag or coat of arms, and the flag of Norway is used for both of them, both alone and as a group. An attempt to change the ISO code to just "Svalbard" has previously failed because of opposition from the Norwegian Ministry of Foreign Affairs. However, for statistics use within population and trade, "Svalbard and Jan Mayen" essentially means just "Svalbard". ### ISO 3166-2 ISO 3166-2:SJ is the entry for Svalbard and Jan Mayen in ISO 3166-2, a system for assigning codes to subnational administrative divisions. However, further subdivision for Svalbard and Jan Mayen occurs under Norway's entry, ISO 3166-2:NO: - NO-21 Svalbard - NO-22 Jan Mayen The hierarchical administrative subdivision codes for Svalbard is SJ.SV and for Jan Mayen is SJ.JM. ### Top-level domain By virtue of the ISO 3166-1 alpha-2 code `SJ`, Svalbard and Jan Mayen were grouped together and allocated the Internet country code top-level domain (ccTLD) .sj. Norid, who also administered the Norway's .no ccTLD, was given the responsibility for the .sj and Bouvet Island's .bv domain in 1997. Policy prohibits any registration with either of the domains, as institutions connected to Svalbard can use the .no domain. Norwegian authorities do not want to commercialize the domain resources, and therefore .sj will not be sold to a third party.

Ohio State Route 357

State highway in Ottawa County, Ohio, US

State Route 357 (SR 357) is a 2.353-mile-long (3.787 km) east–west state highway in the northern portion of U.S. state of Ohio. Existing entirely on South Bass Island in Lake Erie, the highway begins at its western terminus of West Shore Boulevard, about 0.75 miles (1.21 km) west of Put-in-Bay. SR 357 then travels northeast to its eastern terminus at a dead end at Lake Erie, approximately 2 miles (3.2 km) east of Put-in-Bay Village. SR 357 is one of two Ohio state routes on Lake Erie islands (the other being SR 575). SR 357 once extended to the mainland of Ohio via the Catawba Island ferry. It officially carries a north–south routing, but a single reassurance marker along the route displays "west" instead of "south". ## Route description The entirety of SR 357 exists within the confines of South Bass Island in Lake Erie. It is located within Put-in-Bay Township in Ottawa County. In 2012, between 490 and 590 vehicles travel on the road on average each day. SR 357 begins at West Shore Boulevard, and travels southwestward. The route passes by Oak Point State Park, and becomes part of Bayview Avenue. SR 357 then intersects County Route 163, which leads to the Put-in-Bay Airport, and the Put-in-Bay–Catawba Island ferry. The route later leaves Put-in-Bay, near Perry's Victory and International Peace Memorial. SR 357 turns northeast to Columbus Avenue, and later ends at a dead end near the lake, next to a driveway. ## History The SR 357 designation was created in 1934. At the time, the highway was routed along the entirety of its present alignment on South Bass Island. However, in 1946, when SR 53 was extended northerly from Port Clinton to end at its present northern terminus in Catawba Island, SR 357 was simultaneously extended south onto the mainland via the ferry that connects Put-in-Bay with Catawba Island, then south along SR 53 to a new southern terminus at SR 2 east of Port Clinton. By 1969, all of the 1946 extension of SR 357 was eliminated, with the Put-in-Bay–Catawba Island ferry becoming a connector between the southern end of SR 357 and the northern endpoint of SR 53, and the mainland portion of SR 357 becoming just SR 53. By 1973, the Put-in-Bay–Catawba Island ferry docked on the south side of South Bass Island, ending the direct access to ferry docks and the rest of the state highway system from SR 357. ## Major intersections

Comet Ping Pong

Pizzeria in Washington, D.C.

Comet Ping Pong (often abbreviated as Comet) is a pizzeria, restaurant, and concert venue located on Connecticut Avenue in Washington, D.C.'s Chevy Chase neighborhood. Owned by James Alefantis, Comet has received critical acclaim from The Washington Post, The Washingtonian, New York magazine, the DCist, and Guy Fieri of Food Network's Diners, Drive-Ins and Dives. Comet was founded in 2006 by Alefantis and Carole Greenwood, both of whom also co-owned another restaurant on the same block. The restaurant was involved in a disagreement with the area's Advisory Neighborhood Commission over concerts inside the restaurant in 2008. Alefantis became the sole owner of Comet Ping Pong in 2009 after Greenwood, a chef at both restaurants, left her position as co-owner and executive chef of Comet. The restaurant is the focus of the Pizzagate conspiracy theory, which has been discredited by a wide variety of organizations, including the Metropolitan Police Department of the District of Columbia. One Pizzagate activist fired a gun in the restaurant in 2016, and another started a fire in it in 2019. In 2020, the restaurant temporarily closed due to the COVID-19 pandemic. ## History ### Founding Comet Ping Pong was founded by James Alefantis and Carole Greenwood in 2006. Prior to opening Comet Ping Pong, Alefantis and Greenwood co-owned Buck's Fishing and Camping, another restaurant next door to Comet's current location. The location of Comet was previously occupied by another restaurant, Thai Room. When it was announced that it was closing, Alefantis decided that he would rather be competing against himself than another restaurateur. The original idea for the space was to make a restaurant devoted to roast chicken called "The Hen House", but Alefantis and Greenwood decided against it and made the location a pizzeria instead. The name came from a neon "Comet" sign that Alefantis found at Comet Liquor in the city's Adams Morgan neighborhood. After Alefantis purchased the location, the DC architecture firm CORE redesigned the space by removing most of the features from the building and making it more "raw". Because the location was next door to their other restaurant, Alefantis and Greenwood merged both restaurants' kitchens so they could easily move back and forth between the locations. Alefantis and Greenwood were inspired by New Haven-style pizza in the menu's creation. Initially, Comet Ping Pong faced challenges: patrons complained that the pizzas were too expensive and that its salad selection was too small. The restaurant changed its menu and was able to find a niche in the gourmet pizza market in the D.C. area. Greenwood served as the chef of both restaurants; she left her position as executive chef and co-owner in 2009 citing urgent family matters and other personal interests. The Washington City Paper's Tim Carman in 2009 felt that both Comet and Buck's Fishing & Camping had managed to succeed without Greenwood. ### Conflict with the ANC When Comet Ping Pong opened in October 2006, Alefantis made a voluntary agreement with the local Advisory Neighborhood Commission (ANC) and the Alcoholic Beverage Control Board that the restaurant "would not stay open past midnight or have live entertainment." By 2008, however, the restaurant was hosting live music events and some neighborhood residents complained that the business was open after midnight. Additionally, Advisory Neighborhood Commissioner Frank Winstead criticized Alefantis for having placed a ping pong table on the sidewalk in front of the restaurant to attract and entertain customers. Winstead published a video on YouTube, "Ping Pong in Public Space", which showed people playing ping pong outside the restaurant and implied that the situation was a traffic hazard. Anticipating that he was going to request outside seating, Alefantis brought the table indoors. Alefantis held a meeting with the local ANC board to formally request that it allow Comet to place outside seating, have live entertainment in the restaurant, and remain open after midnight. The meeting was acrimonious, with some ANC members accusing Alefantis of violating the agreement and holding live entertainment in the venue. Winstead stated that Alefantis was "trying to turn this area into Adams Morgan with the murders and rapes." The ANC decided in Comet's favor by a 4–3 vote and the audio recording of the meeting went public. Live music resumed on August 8, 2008, after the decision, and Winstead was defeated by a wide margin in the next election. ### Pizzagate conspiracy theory, 2016 shooting, and the COVID-19 pandemic In early November 2016, several websites and online forums falsely implicated Comet Ping Pong and various Democratic Party figures as part of a supposed child trafficking ring, which was dubbed "Pizzagate" on Internet forums. The rumor was debunked by the Metropolitan Police Department of the District of Columbia and sources such as Snopes.com and The New York Times, among others. However, the restaurant's owners and staff were harassed, threatened on social media websites, and given negative Yelp reviews. After continued threats, Comet Ping Pong increased the security for concerts held inside its premises. On December 4, 2016, Edgar Maddison Welch of Salisbury, North Carolina, walked into the restaurant with a semi-automatic rifle and fired three rounds inside the building before being arrested; no one was injured. In addition to the AR-15-style rifle, police seized a Colt .38 caliber handgun, a shotgun, and a folding knife from Welch's car and person. Welch told police that he planned to "self-investigate" the conspiracy theory, and was charged with assault with a dangerous weapon, carrying a pistol without a license, unlawful discharge of a firearm, and carrying a rifle or shotgun outside the home or business. On June 22, 2017, he was sentenced to four years in prison. On March 3, 2020, Welch was transferred to a Community Corrections Center (CCC) and was released on May 28. In response to the shooting, the restaurant set up a GoFundMe campaign to compensate for additional security, lost wages, and property damage. On Facebook, a local PR consultant set up an event to support the restaurant and nearby businesses affected by the harassment campaign, which thousands of people expressed interest in attending. During the sentencing hearing for the gunman, U.S. District Judge Ketanji Brown Jackson stressed that Welch's actions "literally left psychological wreckage." An arsonist set a fire in the restaurant in January 2019. The fire was quickly put out by restaurant employees and caused no injuries. A man suspected to be the arsonist was later arrested and pleaded guilty at court in December 2019. Starting on March 15, 2020, the restaurant was forced to temporarily shut down due to the implementation of COVID-19 restrictions in Washington, D.C., relying on takeout and delivery for income. As of May 2020, Comet Ping Pong continued to be targeted by believers of Pizzagate, with one person jamming the restaurant's phone line for one day. ## Services and reputation Comet Ping Pong is both a pizzeria and a live concert venue. The Washington Post's food critic, Tom Sietsema, gave Comet two and a half stars out of four, noting that its pizzas "are as good for their thin and yeasty crusts as for their toppings." The Washingtonian placed the restaurant in the "top tier" of Washington pizzerias. New York magazine featured Comet in its "Where to Eat" section of a "Navigating the Potomac" feature, describing the restaurant as a "hipster-heavy pizza parlor". The DCist featured Comet Ping Pong's 'Time-Out' pizza as one of the ten best in the area. The restaurant also appeared on an episode of Food Network's Diners, Drive-Ins and Dives with Guy Fieri in 2010 in which he called the Yalie clam and the Philly calzone pizzas some of the "best he's ever had". GQ ranked James Alefantis as the 49th most powerful person in Washington, partly on the basis of owning Comet Ping Pong and its cultural cachet. Ping pong tables populate the back room, which serves as Comet's concert venue and features a stage at nearly ground level. A number of artists and bands have performed at the restaurant, including The Apes, Speedy Ortiz, and Tussle. DCist's Mehan Jayasuriya noted of the venue, "It's not often that, on your way into a punk rock show, you have to carefully skirt around the band members, for fear of interrupting their ping-pong match."

Nevado de Longaví

Volcano in Chile

Nevado de Longaví is a volcano in the Andes of central Chile. The 3,242 m (10,636 ft) high volcano lies in the Linares Province, which is part of the Maule Region. It features a summit crater and several parasitic vents. The volcano is constructed principally from lava flows. Two collapses of the edifice have carved collapse scars into the volcano, one on the eastern slope known as Lomas Limpias and another on the southwestern slope known as Los Bueye. The volcano features a glacier and the Achibueno and Blanco rivers originate on the mountain. The oldest volcanic activity occurred one million years ago. After a first phase characterized by the production of basaltic andesite, the bulk of the edifice was constructed by andesitic lava flows. The volcanic rock that makes up Nevado de Longaví features an unusual magma chemistry that resembles adakite (having geochemical characteristics of magma thought to have formed by partial melting of altered basalt that is subducted below volcanic arcs). It may be the consequence of the magma being unusually water-rich, which may occur because the Mocha fracture zone subducts beneath the volcano. Nevado de Longaví was active during the Holocene. 6,835 ± 65 or 7,500 years before present an explosive eruption deposited pumice more than 20 kilometres (12 mi) away from the volcano. A lava flow was then erupted over the pumice. The last eruption occurred about 5,700 years ago and formed a lava dome. The volcano has no historic eruptions but fumarolic activity is ongoing. Nevado de Longaví is monitored by the National Geology and Mining Service of Chile. ## Geography Nevado de Longaví lies in the Longaví commune of Linares Province, Maule Region. ### Regional Nevado de Longaví lies in the Andean Mountain Range's Southern Volcanic Zone, which extends between 33 and 46 degrees southern latitude. It is one among 60 volcanoes in Chile and Argentina that lie within the Southern Volcanic Zone. Among the largest volcanic eruptions in this area were the 1932 Quizapu and the 1991 Cerro Hudson eruptions. Nevado de Longaví is usually put into the "Transitional Southern Volcanic Zone", one of the four segments which the Southern Volcanic Zone is subdivided into; they are characterized by different thicknesses of the crust that the volcanoes are constructed on and by differences in the volcanic rocks. Farther east lie the Tatara-San Pedro and Laguna del Maule volcanoes. ## Geology Volcanism in the Southern Volcanic Zone is caused by the subduction of the Nazca Plate beneath the South American Plate in the Peru–Chile Trench, at a pace of 40 millimetres per year (1.6 in/year). The Southern Volcanic Zone is one among several volcanic belts in the Andean Volcanic Belt. Areas without volcanic activity separate it from the Central Volcanic Zone in the north and the Austral Volcanic Zone in the south. These gaps appear to coincide where the Juan Fernández Ridge and the Chile Rise, respectively, subduct in the Peru–Chile Trench. In the volcanic gaps, the subducting slab seems to be attached to the overriding plate without an asthenosphere in between, suppressing the production of magma. There is a strong north–south gradient among volcanoes of the Southern Volcanic Zone. The northernmost volcanoes are the highest and lie on thicker crust which causes their magmas to have a stronger crustal contribution. The output of the northernmost volcanoes is dominated by andesitic and more evolved magmas and they have the highest quantity of incompatible elements in their magmas. Southern volcanoes are lower, tend to erupt mafic magmas and are located west of the continental divide. Volcanism in areas of subduction is caused by the release of slab fluids from the subducting slab into the abovelying asthenospheric mantle. The injection of such fluids triggers fluxing and the formation of magmas. Conversely, the descending slab itself is usually not considered a major contributor to magma genesis. Such exceptional magmas are often referred to as adakites, but magmas with such a chemistry can also originate by other processes. ### Local Nevado de Longaví lies within a small mountain chain. It was formerly considered 3,080 m (10,100 ft) or 3,181 m (10,436 ft) high; the accepted elevation is 3,242 metres (10,636 ft). The volcano has a summit crater and many adventive craters on its slopes. The summit crater is heavily degraded by erosion. Lava flows extend radially away from the summit crater and form the bulk of the volcano. The adventive craters are also associated with lava flows. These lava flows are accompanied by breccia and reach thicknesses of 4–15 metres (13–49 ft). Lahar deposits are found on the eastern slopes. Scarps on the east–southeast flanks resulted from sector collapses of the volcano. This collapse is known as Lomas Limpias and its scar has a surface area of c. 2 square kilometres (0.77 sq mi). The collapse scar was later filled with products from explosive eruptions. Another collapse occurred on the south–southwestern flank, forming the Los Bueyes collapse and terrace deposits. Nevado de Longaví is a relatively small volcano. With a diameter of 9 kilometres (5.6 mi), a basal surface area of 64 square kilometres (25 sq mi) and a height above base level of 1,800 metres (5,900 ft), Nevado de Longaví has a volume of about 20 cubic kilometres (4.8 cu mi). The basement beneath the volcano is formed by the volcaniclastic Cura-Mallín Formation of Eocene–Miocene age, Miocene plutons and the lavic-breccia Pliocene-Pleistocene Cola de Zorro formation. This last formation was identified as forming a deeply eroded volcano in the Cordón de Villalobos south of Nevado de Longaví. This volcano 10 kilometres (6.2 mi) south of Nevado de Longaví is known as Villalobos. The emplacement of this formation was facilitated by a decrease in the compressional stress that had affected the region prior to the Pliocene. Some isolated monogenetic volcanic centres can be found southeast of Nevado de Longaví. Aside from Villalobos, this includes Resago and Loma Blanca. The first and the last are of Pleistocene age, based on their preservation. Resago is post-glacial. The last two centres appear to be related to a geological lineament that flanks the eastern slopes of Nevado de Longaví. A glacier is found on the southern slope, between 1989 and 2017 glacier cover has decreased by over 95% with less than 0.2 square kilometres (0.077 sq mi) of glacier cover remaining. Previous glaciation is also supported by the presence of glacial striations on lava flows and of lahar deposits. The Rio Blanco originates on the southeastern slope of Nevado de Longaví, within the collapse scar. It turns south and west around the volcano in a fishhook pattern. The Estero Martinez and Quebrada Los Bueyes rivers also originate on Nevado de Longaví, on the western and southern flank respectively. They are both tributaries of the Rio Blanco. The Achibueno River also originates on the eastern flank of Nevado de Longaví in a lake of the same name. It flows first northeastward and then turns around the volcano. ### Composition Nevado de Longaví has chiefly erupted andesite, which forms about 80% of the volcano. Smaller amounts of basalt and dacite were also erupted by the volcano, the former in the early stages of activity and as basaltic andesite inclusions, the latter during the Holocene. Early stage rocks contain phenocrysts of clinopyroxene, olivine and plagioclase. Mainstage rocks in addition contain amphibole and orthopyroxene. In the Holocene rocks, apatite, iron and titanium oxides and sulfides have been found. Aside from minerals, gabbro and mafic rocks form enclaves. Granite xenoliths are also found. Unlike these granites, the gabbros appear to be cumulates considering their chemical similarity to Nevado de Longaví rocks. The chemistry of Nevado de Longaví's magmas is unusual among the volcanoes of the South Volcanic Zone. For example, the potassium content is unusually low. Likewise, incompatible elements are underrepresented. Modal amphibole is much more prevalent. Nevado de Longaví's magmas have been referred to as adakitic, the only magmas of such chemistry in the Southern Volcanic Zone, but this classification has been contested. Fractional crystallization of amphibole has been invoked to explain some of the compositional patterns. On the basis of their rubidium content, Nevado de Longaví's magmas have been classified in two groups. The rubidium-rich group resembles that of other volcanoes in the Southern Volcanic Zone; the rubidium-poor group conversely is the "unusual" one. The differences appear to reflect both different parental magmas and different magma evolution. There is a temporal pattern of the magmas becoming more rubidium-poor over time. The unusual chemical patterns appear to reflect that the magmas erupted from Nevado de Longaví were extremely rich in water. Such a pattern has also been noted at Mocho-Choshuenco and Calbuco. All these volcanoes are located above the points where fracture zones intersect the Peru–Chile Trench, and it has been proposed that these fracture zones channel water into the mantle. In the case of Nevado de Longaví, the Mocha fracture zone is subducting beneath the volcano. ## Eruptive history Early stage basaltic andesite lava flows crop out on the northern and southwestern slopes of Nevado de Longaví. They originated at a site c. 400 metres (1,300 ft) below the present-day summit and reach thicknesses of 100–150 metres (330–490 ft). Individual flows are about 1–5 metres (3 ft 3 in – 16 ft 5 in) thick. These volcanic rocks are up to one million years old. During the main growth stage, volcanic activity was approximately constant considering the homogeneous structure of the lava flows. Temporary periods of dormancy however occurred, causing the formation of erosion valleys on the northern slope that were then filled by younger lava flows. These younger lava flows were themselves subject to glaciation. ### Holocene The last activity occurred during the Holocene, and included explosive activity. It was centered in the eastern collapse scar and on the summit region. In the eastern collapse scar, possibly subglacial activity formed a 30 metres (98 ft) thick sequence including clasts, lava flows and silt. 6,835 ± 65 or 7,500 years before present, a large explosive eruption occurred. It deposited dacitic pumice more than 20 kilometres (12 mi) southeast from the volcano. Maximum thickness of the deposits is 30 metres (98 ft). It is also known as the Rio Blanco fall deposit. In the eastern collapse scar, the pumice was later buried by an andesitic lava flow, which is undated and carries the name Castillo Andesite. The last eruption formed a lava dome within the collapse scar and the summit area. This eruption occurred about 5,700 years ago. A secondary collapse of the lava dome formed a 0.12 cubic kilometres (0.029 cu mi) large block and ash flow that descended the eastern slopes and covers a surface area of about 4 square kilometres (1.5 sq mi). There is no reported historical volcanic activity, but fumarolic activity has been reported and remote sensing has found thermal anomalies on a scale of about 4 K (7.2 °F). The volcano together with Lomas Blancas has been prospected for the potential of obtaining geothermal energy; estimated capacities are 248 megawatts. ## Hazards The volcano is ranked 22 on Chile's national volcano hazard scale. The towns closest to the volcano are Cerro Los Castillos, La Balsa, La Orilla, Las Camelias and Rincón Valdés; renewed eruptions could result in debris flows, eruption columns, lava flows and pyroclastic flows on the volcano and surrounding valleys. The Mendoza Province in Argentina could also be potentially affected by activity at Nevado de Longaví. The first recorded ascent occurred in 1965 by S. Kunstmann and W. Foerster, but evidence reported during that ascent implies that humans had reached the mountain earlier. Otherwise, Nevado de Longaví is one of the important tourist attractions of the commune.

German destroyer Z12 Erich Giese

Type 1934A-class destroyer

Z12 Erich Giese was a Type 1934A-class destroyer built for Nazi Germany's Kriegsmarine in the late 1930s. At the beginning of World War II, the ship was used in the German Bight to lay minefields in German waters. In late 1939 the ship made one successful minelaying sortie off the English coast that claimed two merchant ships. While returning from that sortie, she torpedoed a British destroyer without being detected and continued on her way. During the early stages of the Norwegian Campaign, Erich Giese fought in both naval Battles of Narvik in mid-April 1940 and was sunk by British destroyers during the Second Battle of Narvik. ## Design and description Erich Giese had an overall length of 119 meters (390 ft 5 in) and was 114 meters (374 ft 0 in) long at the waterline. The ship had a beam of 11.30 meters (37 ft 1 in), and a maximum draft of 4.23 meters (13 ft 11 in). She displaced 2,171 metric tons (2,137 long tons) at standard and 3,190 metric tons (3,140 long tons) at deep load. The Wagner geared steam turbines were designed to produce 70,000 metric horsepower (51,000 kW; 69,000 shp) which would propel the ship at 36 knots (67 km/h; 41 mph). Steam was provided to the turbines by six high-pressure Benson boilers with superheaters. Erich Giese carried a maximum of 752 metric tons (740 long tons) of fuel oil which was intended to give a range of 4,400 nautical miles (8,100 km; 5,100 mi) at 19 knots (35 km/h; 22 mph), but the ship proved top-heavy in service and 30% of the fuel had to be retained as ballast low in the ship. The effective range proved to be only 1,530 nmi (2,830 km; 1,760 mi) at 19 knots (35 km/h; 22 mph). Erich Giese carried five 12.7 cm SK C/34 guns in single mounts with gun shields, two each superimposed, fore and aft. The fifth gun was carried on top of the rear deckhouse. Her anti-aircraft armament consisted of four 3.7 cm SK C/30 guns in two twin mounts abreast the rear funnel and six 2 cm C/30 guns in single mounts. The ship carried eight above-water 53.3-centimeter (21.0 in) torpedo tubes in two power-operated mounts. A pair of reload torpedoes were provided for each mount. Four depth charge throwers were mounted on the sides of the rear deckhouse and they were supplemented by six racks for individual depth charges on the sides of the stern. Enough depth charges were carried for either two or four patterns of 16 charges each. Mine rails could be fitted on the rear deck that had a maximum capacity of 60 mines. 'GHG' (German: Gruppenhorchgerät) passive hydrophones were fitted to detect submarines. ## Construction and career The ship was ordered on 4 August 1934 and laid down at Germania, Kiel on 3 May 1935 as yard number G538. She was launched on 12 March 1937 and completed on 4 March 1939. Erich Giese was initially assigned to 8th Destroyer Division (8. Zerstörrer-Division) part of the 4th Destroyer Flotilla (4. Zerstörrer-Flottille) under the command of Commander (Fregattenkapitän) Brocksien. Two months later, the ship escorted into Hamburg the convoy returning the German Condor Legion from Spain. When World War II began, Erich Giese was assigned to the German Bight where she joined her sisters in laying defensive minefields. The ship also patrolled the Skagerrak to inspect neutral shipping for contraband goods. The ship attempted to lay a minefield off the British coast on the night of 12/13 November, but had to turn back to escort her consorts, Theodor Riedel and Hermann Schoemann, back to Germany when they suffered machinery breakdowns. Eight days later, she was one of the destroyers escorting the battleships Gneisenau and Scharnhorst through the North Sea to break out into the North Atlantic. Led by Commander (Fregattenkapitän) Erich Bey in his flagship Hans Lody, Erich Giese and Bernd von Arnim left port on the morning of 6 December to lay a minefield off Cromer. The latter ship had severe boiler problems and was ordered to return to port in the late afternoon while the other two continued their mission. They spotted several darkened ships as they approached their destination, including the destroyers HMS Juno and HMS Jersey, but were not spotted in return. As the two German destroyers withdrew after having laid their mines, they spotted the two British destroyers again at a range of 8,000 meters (8,700 yd) and closed to attack. When the range dropped to 4,600 meters (5,000 yd), Lody fired three torpedoes at Juno, the leading British ship, while Giese fired four at Jersey. None of Lody's torpedoes struck their target, but one of Giese's hit Jersey abreast her aft torpedo mount. The torpedo detonated in an oil fuel tank and started a major fire. Neither British ship spotted the German destroyers and they continued on while Juno turned about to help her sister. Two British ships totalling 5,286 Gross Register Tons were sunk by this minefield. Giese was refitted at the Germaniawerft shipyard after her return on 8 December. The ship was allocated to Group 1 for the Norwegian portion of Operation Weserübung. The group's task was to transport the 139th Mountain Infantry Regiment (139. Gebirgsjäger Regiment) and the headquarters of the 3rd Mountain Division (3. Gebirgs-Division) to seize Narvik. The ships began loading troops on 6 April and sailed the next day. Giese fell behind the rest of Group 1 as the result of oil leaks, machinery breakdowns, and contaminated fuel oil. She fell further behind when Lieutenant Commander (Korvettenkapitän) Karl Smidt turned the ship about to recover a soldier who had been washed overboard by the high seas. Giese had little usable fuel left by this time and was forced to continue at a slower speed to conserve fuel. When the ship arrived at her destination on 9 April, she landed her troops in the Herjangsfjord (a northern branch of the Ofotfjord) to reinforce the other troops previously landed there in order to capture the Norwegian Army armory at Elvegårdsmoen. Later in the day, Erich Giese moved to Narvik harbor, but was not able to refuel before she was ordered to return to the Herjangsfjord well before dawn together with her sisters Wolfgang Zenker and Erich Koellner. Shortly before dawn on 10 April, the five destroyers of the British 2nd Destroyer Flotilla surprised the German ships in Narvik harbor. They torpedoed two destroyers and badly damaged the other three while suffering only minor damage themselves. As they were beginning to withdraw they encountered the three destroyers of the German 4th Flotilla which had been alerted when the British began their attack. The Germans opened fire first, but the gunnery for both sides was not effective due to the mist and the smoke screen laid by the British as they retreated down the Ofotfjord. The German ships had to turn away to avoid a salvo of three torpedoes fired by one of the destroyers in Narvik. Giese and Koellner were very low on fuel and all three were running low on ammunition, so Commander Bey decided not to continue the pursuit of the British ships since they were being engaged by the last two destroyers of Group 1. Commander Bey was ordered during the afternoon of 10 April to return to Germany with all seaworthy ships that evening. Only Erich Giese and Wolfgang Zenker were ready for sea and they slipped out of the Ofotfjord and turned south. Visibility was good that night and they spotted the light cruiser HMS Penelope and her two escorting destroyers and Commander Bey decided to turn back even though his ships had not been spotted by the British. Three other destroyers refuelled and completed their repairs on 11 April, but Bey decided against another breakout attempt despite the fog and poor visibility that night. Bey made no attempt to break out during the night of 12/13 April, possibly because two of the destroyers had been damaged earlier in the day when they ran aground. That night he received word to expect an attack the following day by British capital ships escorted by a large number of destroyers and supported by carrier aircraft. Erich Giese reported that she was only capable of 28 knots (52 km/h; 32 mph), although her torpedoes had been replenished from the damaged destroyers. The battleship HMS Warspite and nine destroyers duly appeared on 13 April, although earlier than Commander Bey had expected, and caught the Germans out of position. The five operable destroyers, not including Giese, charged out of Narvik harbor and engaged the British ships. The ship did not have enough steam raised to participate and remained in the harbor. She attempted to leave the harbor after the British had driven off the other German ships, but her port engine seized up and left her almost dead in the water at the mouth of the harbor. While attempting to repair her engine, Giese was approached by the destroyers HMS Punjabi and HMS Bedouin which fired five torpedoes at her. All of them missed and Giese's torpedoes were equally unsuccessful. She did hit Punjabi with six or seven 12.7 cm shells which holed the ship several times just above the waterline, wrecked her fire-control system, severed her main steam line and started several fires. Casualties aboard Punjabi were seven killed and 14 wounded. In the meantime, Giese had managed to repair her engine after ten minutes of work and limped forward at her maximum speed of 12 knots (22 km/h; 14 mph) to engage the remaining British destroyers. Bedouin closed to point-blank range and had her forward gun turret knocked out by Giese, but the latter was hit at least 20 times and reduced to a blazing wreck that finally sank shortly before midnight. Eighty-three of her crew were killed outright during the battle, but the destroyer HMS Foxhound did rescue 11 men, two of whom subsequently died of their wounds. Surviving crew members later testified that they had been machine-gunned at close range while drifting in the water, an action which was considered especially shocking as the Geise had done so much only three days previously to rescue members of Hunter'''s ship's company. The ship's remaining crewmen managed to get ashore one way or another. In 2011, a 150 kilograms (330 lb) bronze Reichsadler was salvaged from the wreck of Giese, in order to be displayed at the War Museum in Narvik. The ship's bell from Giese was removed by looters in the 1960s, as were the Reichsadler'' from the nine other German destroyers sunk at Narvik.

Fort Scott National Historic Site

National Historic Site of the United States

Fort Scott National Historic Site is a historical area under the control of the United States National Park Service in Bourbon County, Kansas, United States. Named after General Winfield Scott, who achieved renown during the Mexican–American War, during the middle of the 19th century the fort served as a military base for US Army action in what was the edge of settlement in 1850. For the next quarter century, it was used as a supply base and to provide security in turbulent areas during the opening of the West to settlement, a period which included Bleeding Kansas and the American Civil War. The current national historic site protects 20 historic structures, a parade ground, and five acres (20,000 m²) of restored tallgrass prairie, inside the city of Fort Scott. It is open to visitors most days of the year. ## History In 1842, Fort Scott was named after Winfield Scott, was established on the American frontier on the military road in eastern Kansas between Fort Leavenworth and Fort Gibson. It was established to provide protection to the rapidly increasing number of settlers, who were migrating from the Eastern United States. Fort Scott became one of a chain of forts intended to protect the new settlers from the Plains Indians, as well as to protect the Indians from the settlers' encroachment. The United States government intention to reserve permanent Indian lands west of the Missouri River gave way to the competition of settlers continuing to encroach on the Indian settlements. Fort Scott's most active days were between 1842 and 1853, although it was also used during the Civil War. ### Army days The Cherokee of Indian Territory (now Oklahoma) were upset to have Fort Wayne in their proximity. After some delay, the US Army decided to abandon Fort Wayne and move its soldiers to a new fort to be built between Fort Leavenworth and the site. The Army both wanted to placate the Cherokee (who were supervised by the Department of Defense) and provide more defense for white settlers and other Indians against the Osage, who had been conducting frequent raids in the area. On April 1, 1842, some soldiers of Fort Wayne left their fort and on April 22 arrived where Fort Scott would be built, in the Osage Cuestas section of modern-day Kansas. After haggling with the Cherokees to acquire the land, the rest of Fort Wayne's garrison left the fort on May 26 and arrived at the Fort Scott site on May 30. Unlike most forts for military use, the fort did not have defensive walls or structures when first built; the wide-open area and the available artillery made an enclosed fort unnecessary. The soldiers concentrated on building structures for lodging the men, animals, and equipment. These buildings were on the edges of a 350-foot (110 m) parade ground. The post quartermaster, Captain Thomas Swords, was in charge of building Fort Scott's structures, and had to deal with the problems of construction on the Kansas prairie, which had few trees. He had only two bricklayers and three carpenters to rely on, as there were few civilians and most of the soldiers had other duties to perform. Wood was available, but the mill was built 1.5 miles (2.4 km) away, making transport time-consuming. Swords found his efforts plagued by lack of wood, skilled labor and working equipment. Freak accidents destroyed much of the wood intended for the fort's construction. As a result, only one duplex of the five planned officers quarters (four duplexes and post commandant's house) was built by 1844, and the intended enlisted barracks were not completed. In his 1844 inspection of the fort, Colonel George Croghan reported that, in comparison to other frontier forts, he considered Fort Scott "above average". Due to the rising tensions that escalated in the Mexican–American War, the US Army redeployed troops to the Southwest. With Fort Scott still uncompleted, officials decided on April 25, 1850, that no more construction would be done there, after eight years and \$35,000. By the time it was finished, it was obsolete; three years later, it was abandoned by the military in favor of the more western Fort Riley. For the average soldier, life at the fort was "monotonous". Until the permanent structures were built, soldiers had to live in tents, which lacked comfort. Aside from a few whiskey peddlers and prostitutes, few civilians lived at the fort. Officers had brought their personal slaves with them, including Captain Swords. The border with Missouri was 5.15 miles (8.29 km) east of Fort Scott. In Missouri was a grog shop that supplied soldiers, and quite a few courts-martial followed soldiers' going AWOL at the shop. The desertion rate from the fort ranged from 12 to 16%, due to boredom, irregular pay, and hatred for military life. As no combat took place near the fort, it seemed more of a frontier village than a military base. Hunting was a popular pastime; according to Captain Swords, "wolf chasing and duck hunting" was the only way one officer could tolerate the place. ### Bleeding Kansas Two years after the army abandoned the fort, the buildings were sold by auction to civilians, with two being converted to hotels. In 1854 the Kansas–Nebraska Act repealed the Missouri Compromise of 1820, which had kept slavery out of Kansas. Missourians in favor of slavery soon moved to Kansas to try to sway the vote of whether or not Kansas would permit slavery. Settlers from New England arrived equally determined to keep it out. Each of the two competing factions of the Bleeding Kansas conflict claimed one of the hotels at Fort Scott: Free-Soil at the Fort Scott Hotel and Pro-Slavery at the Western Hotel. Most of the residents in Fort Scott supported slavery, but those outside the town tended to the free-soil side. During this time, there were local incidents of murder and attempted arson, typical elements of the guerrilla conflicts that were prevalent in the fighting. ### Army returns During the American Civil War, the fort was renewed as a US military post. In August 1861, the Union Army took command of Fort Scott, and readied it for the war times. The United States Army also took over several blocks within the town for commissary and quartermaster functions. The Union Army rented the properties from the current civilian owners. Troops from Indiana, Iowa, Colorado, Ohio, and Wisconsin would come to the fort, and either stayed by the fort, or traveled farther, to subjugate Missouri, Arkansas, or the Indian Territory. Fort Scott was one of the few installations that recruited and trained black soldiers for the United States Colored Troops of the Union Army. A major supply depot was situated at the fort. Confederate general Sterling Price hoped to capture the town, but the closest the Confederate force came to the garrison was 10 miles (16 km) away at Battle of Dry Wood Creek. The site was strategically important as it was within a Southern-sympathizing area and close to the Confederate state of Arkansas and the "unstable" Indian Territory (present-day state of Oklahoma), where many of the members of the Five Civilized Tribes were allied with the Confederates. The fort served as a "general hospital" (large military hospital) and prison until after the war. Following the end of the war, in October 1865 the US Army left the facilities and sold off by auction what they controlled. On January 14, 1870, the Army returned with the formation of the Post of Southeast Kansas. The Post was based at Fort Scott, but the soldiers camped along the rail tracks, and seldom used the original fort. They were sent to protect the railroads and workers from settlers. Some of the latter feared that the railroad, which had been awarded land for development by the US Government in rights-of-way, would evict them from their squatter homes. The settlers considered the troops lackeys to the railroads, and lumped both as enemies. Settlers also had some continuing conflicts with Indians and insurgents using the recent Confederate cause as excuse for robbery. By the spring of 1873, the US Army withdrew the troops from Fort Scott for good. From 1873 to 1965, the buildings of the fort were left unattended, and slowly deteriorated. Many military buildings were razed and replaced with structures built for civilian use. ## Modern times With the Act of August 31, 1965, the National Park Service gave the city government of Fort Scott, Kansas the necessary funds and technical knowledge to restore the fort. On October 19, 1978, Fort Scott became a National Historic Site under the supervision of the National Park Service, encompassing 17 acres (69,000 m²). Today the fort is open throughout the year, save for Thanksgiving, Christmas, and New Year's Day. Visitation has declined in recent years. In 2005 visitation was 25,528; in 2007 it was 22,314. Surviving structures include four officers' barracks, one dragoon's barracks, two infantry barracks, a hospital, guardhouse, dragoon stables, ordnance and post headquarters, quartermaster stables, bake shop, flagpole, and magazine. Another feature of the park is 5 acres (2.0 ha) of tallgrass prairie restored as part of an ecology-restoration project. ## See also - Fort Blair (Fort Scott) - Fort Larned National Historic Site - List of National Historic Landmarks in Kansas

What It's Like Being Alone

Canadian animated series

What It's Like Being Alone is a Canadian adult animated television series which aired on CBC Television in 2006. It is a black comedy created by Brad Peyton, and combines clay animation with voice work by Stacey DePass, Adam Reid, Dwayne Hill, Julie Lemieux, Peter Cugno, and Andrew Sabiston. Having debuted on 26 June 2006, the series lasted only until 18 September of that year. The storylines of the thirteen episodes that aired during this timeframe center on the many attempts of fictional mutant children living in an orphanage to get adopted. Princess Lucy, a grey, fat, and warty orphan, is the main character, and the plot begins with her arrival at the orphanage. Critics regarded the series as unusual, and it received notably poor ratings. Commentators considered these ratings to reflect a generally poor performance of CBC programming in 2006. ## Characters The storylines of What It's Like Being Alone revolve around the residents of the fictional Gurney Orphanage, a dark, run-down building. The orphanage has been described by a columnist as Victorian, and it may be set in a bog on the Canadian island of Newfoundland. - Aldous is the eldest of the orphans. She is tall, depressed, very gothic and obsessed with her own death, and carries a black umbrella. She spends most of her time moping about the orphanage and writing depressing poetry. It is insinuated that she actually cares for the other orphans, without letting this on too much. Aldous is voiced by Stacey DePass. - Armie is a boy with no limbs, except for his left arm. He glides around on a skateboard, and often falls over when he uses his arm for something. He is happy and hopeful, despite his obvious handicap. Armie is voiced by Adam Reid. - Brian Brain is an incredibly intelligent 9-year-old boy with two brains and three eyes. He is often seen inventing things, or gloating about his superiority. His voice is provided by Andrew Sabiston. - Byron and Beasly is a blue baby with two heads. Byron is constantly teased by Beasly, the more demonic head. They vomit acid, and are nearly impossible to bathe. No one is credited with voicing this character. - Charlie is a somewhat homosexual boy who is always on fire. Though he tries not to harm other people, someone or something always ends up burning. Like the other orphan characters, Charlie was part of the story from the beginning, and was specifically inspired by one of Peyton's jokes, "What's it like being alone? Like a sunset, but only if you're on fire." Charlie is voiced by Peter Cugno. - Princess Lucy is a short, fat, warty and grey girl who believes she is a princess. She is ego-centric, and quite crude, and has a long, lizard-like tongue; she often carries a lollipop. She firmly believes that she is the most deserving of parents. Princess Lucy is voiced by Dwayne Hill, who was also part of the "Story Department." Peyton has said that she is his favourite character. - Sammy Fishboy resembles a swamp monster. Outside of his tank, he must always keep a running hose over his head. He often is very rude, especially when he is drunk. He is in love with Isabella, a stone mermaid aquarium decoration, and becomes depressed when it is not around. Sammy is voiced by Julie Lemieux. - Seymore Talkless is an eleven-year-old boy with no mouth and one giant eye. He expresses his emotions through his violin or a variety of signs that have a word or phrase written on them, and expresses panic through crazed hand gestures. No one is credited with voicing this character. - Nanny Goodapple is the orphans' caretaker. She never speaks, and glides around the other characters. When out, she leaves the welfare of the other children in Aldous' hands. Nanny Goodapple is also something of a souse. No one is credited with voicing this character. ## Plot ### Pilot The pilot of the series aired with some anticipation. Beforehand, columnist Randall Denley had written that "I suspect [it] will be the highlight of the evening," noting the series had been described as "wondrous and fiendishly humorous." The first episode, titled "The Gurney Orphanage For Beginners," features Princess Lucy and her suitcase falling from the sky in front of the orphanage and killing three rabbits. Upon getting up and seeing the orphanage, Princess Lucy believes she has found her castle and royal family. Instead, she is surprised to find the building is full of mutant orphans, and devastated to learn she is an orphan herself. She tries to escape, but finds any way out blocked by a lake monster and a dangerous forest, among other things. Eventually, a woman agrees to adopt Lucy. However, the other orphans see that the woman will probably not provide the best home for her, and intervene. Lucy ultimately decides that she belongs in the orphanage more so than her ideal castle. ### Series The series was continued with twelve more episodes: Themes explored include "social issues, pop culture references and humour." Due to the show having the visual appearance of a children's television series, each episode was preceded by a content warning, stating that the show was intended for an adult audience and that "parental discretion" was advised. "Do Orphans Dream of Electric Parents?" is the second episode. It is about Brian Brain inventing robots and making them his parents, only to find that the robots want to divorce each other. In the next episode, "An Orphans Life Indeed", Princess Lucy seeks a best friend, but her vanity causes her to decide that only she can be her own best friend. Lucy then clones herself, but the clones prove troublesome. Seymore, who is in love with Lucy, ultimately solves the problem by slaughtering the clones with a chainsaw. One critic remarked that this was a particularly "disturbing" scene for the series. The fourth episode, called "The Perfect Lesson", sees the orphans trying to perform a play to impress visiting prospective parents. It is from this episode that the show's title is derived, as the play repeatedly refers to "what it's like being alone". This was followed by the episode aired on 24 July, "The Poster Child" which is about a corporation that attempts to adopt Aldous to use her in advertisements. Aldous, under a witch's curse, must accept this shallow adoption or die. In the episode "Fire the Reverend", a religious speaker visits the orphanage and confuses Charlie with Satan; the real Satan and his son later emerge, and Charlie finds out that while he is mistaken for being evil, Satan's son is trying to shed the perception that he is good. Eventually Charlie saves the day by persuading Satan and his son to leave the orphanage. The seventh episode is entitled "Red, White and Orphanage". It is about another orphanage abducting Brian Brain in order to exploit him in their plans for world domination. This was followed by "Sammy's Episode", which is about Sammy taking various medications, as well as shock therapy. The ninth episode is "A Tale of Almost Unbearable Sadness," which is focussed on declining morale in the orphanage and exploration of the dangerous forest. Alternate names for the tenth episode are "Lucky Lucy" and "You Gotta Know When to Hold 'em". In it, Princess Lucy bets that Byron and Beasly cannot be cleaned and wins. She afterwards gambles more but nearly loses the orphanage in the process. The episode "Armie Loves Cigarettes" sees Armie taking up smoking. According to the Internet Movie Database, the second last episode and season finale aired on the same day, 18 September. The twelfth and second last episode is called "A Frightful Flu," and in it Aldous entrusts care for the ailing orphans to a witch. The final episode, "Silver Screen Lucy" or "The Sweet Stink of Success," is about the orphans making short films to impress a prospective parent, but he ends up adopting Nanny Goodapple and Beasly and Byron, leaving the orphanage to Aldous. ## Production The show was created by Brad Peyton of Newfoundland and Labrador, who explained that he identified himself as a "freak" growing up, and was thus motivated to try "celebrating flawed characters" in his work; he also employed stereotypical views of orphanages in the series. Peyton had previously made a black comedy short film called Evelyn: The Cutest Evil Dead Girl, and afterwards declined to shoot a major film. Instead, he turned to What It's Like Being Alone. He described the genesis of the series: > I had a friend who was depressed, so I went over to her house and started drawing. I made her a little book. She liked it and said I should try to sell it. So I photocopied 200 at Kinkos and sold them at Pages Books. Made like \$150 dollars. That book turned into What It's Like Being Alone. Peyton explained the writing by saying "it always comes out of an emotional place." One of the writers was Karen Walton, who had previously written the Canadian werewolf film Ginger Snaps. The producers chose the type of animation due to Peyton's personal interest in it, although he later claimed that a day's work could lead to seconds' worth of material. A factory was needed with 8 to 10 teams, with some of the animators having previously worked on the Tim Burton film Corpse Bride. The characters were made out of plastic and foam. Additionally, some animation was done through computers. Each character's figure had a number of add-on lips to express various sounds, and their eyes and eyebrows were also adjusted frequently during production. The figures could also be fastened into a surface, moved and fastened in again to portray movement. Peyton remarked that "The hardest thing is timing and pacing." Still, he also liked to emphasize that the series did not cost too much money to produce. The airing of the series had been stalled for a year, perhaps due to difficulties within the CBC. To get CBC to adopt the series, Peyton showed the company a commercial with the CBC logo in blood, remarking that "It's been way too long that you've waited to have your logo covered in blood." He had also said that What It's Like Being Alone was meant to attract university and high school students as an audience, and he felt that these people did not ordinarily watch the CBC. CBC itself was looking for original material, and was enthusiastic about the series because it seemed to stand out among Canadian television productions. Peyton's co-producer was Fred Fuchs, who later rose in the CBC staff; one critic believed Fuchs' promotion to be a reason why CBC adopted the series. ## Reception Critics generally found the series to be unusual. CBC critic Stephen Cole commented that What It's Like Being Alone has "arguably the most surreal opening sequence in TV history" with a shift in view from a black and white Canadian flag to the orphan characters. He questioned whether the show indicated the CBC had adopted "Addams Family values" and said that it was "the wildest CBC comedy since Twitch City." One television critic briefly said that What It's Like Being Alone is a "weird show," and simply advised individual viewers to see it for themselves. If they "relate" to it, the critic added, "a 'Yikes!' is in order." Bill Brioux of the Toronto Sun commented that in combining a feel one would usually expect from Tim Burton with elements of Sesame Street, What It's Like Being Alone would probably not appeal fully to any demographic, despite its originality. Additionally, he felt Princess Lucy would be tiresome, and said he had hoped the show were more amusing. In terms of ratings, the series did not do well. The Toronto Star described it as one of CBC's "prime-time dogs" with an audience of 78,000 people. The executive Richard Stursberg was blamed for cancelling the more popular Da Vinci's City Hall and This Is Wonderland to make room for this and other shows, and in general for being a "one-man wrecking ball" for the CBC (the series The One: Making a Music Star had also flopped on CBC in 2006). On 18 September, the series finale had only 163,000 viewers, part of the perceived "shocking" low ratings CBC received that year, along with the low ratings of the documentary series Hockey: A People's History and a mini-series about former-Quebec premier René Lévesque.

Interstate 295 (New York)

Highway in New York

Interstate 295 (I-295) is an auxiliary Interstate Highway within New York City. Measuring 7.7 miles (12.4 km) in length, I-295 originates at Hillside Avenue (New York State Route 25 [NY 25]) in Queens, running north across Queens and over the tolled Throgs Neck Bridge, to Bruckner Interchange, a junction with I-95, I-278, I-678, and the Hutchinson River Parkway in the Bronx. From south to north, I-295 intersects the Grand Central Parkway, I-495 (Long Island Expressway), and the Cross Island Parkway in Queens before crossing the Throgs Neck Bridge and splitting with I-695 (Throgs Neck Expressway). In Queens, I-295 is also known as the Clearview Expressway. The entirety of I-295 was proposed in 1955 as a part of I-78. Construction started in 1957, and the highway opened in 1963 with the I-78 designation. Originally, plans called for I-78 to be extended southeastward from Holland Tunnel in Manhattan to NY 878 (Nassau Expressway) in Queens, before curving north to meet the Clearview Expressway. These plans were canceled in 1970, at which point the highway between NY 25 in Queens and I-95 in the Bronx was redesignated as I-295. I-295 was originally planned to continue further south to John F. Kennedy International Airport. The 2.5-mile (4.0 km) JFK Expressway, constructed in the 1980s, was intended to be part of I-295 but was constructed only as far north as the Belt Parkway. ## Route description The existing section of the Clearview Expressway that carries the I-295 designation begins at the unfinished interchange with NY 25 where the ramps from northbound NY 24 (212th Street) and southbound Hollis Court Boulevard merge into the northbound and southbound lanes, respectively, of the highway. The Queens section of this roadway is known as "The 77th Infantry Division Expressway". The Queens expressway instantly runs beneath a stack interchange with the Grand Central Parkway before immediately entering Cunningham Park. The Clearview leaves Cunningham Park at the interchange with Long Island Expressway (now I-495). Shortly north of the I-495 interchange, the northbound offramp and southbound onramp at NY 25A split, then run under a pedestrian bridge that connects 46th Avenue. Other pedestrian bridges cross over the highway near 42nd Avenue and at 33rd Avenue. The northbound exit 5 uses 206th Street as a de facto service road, while 207th Street is used in the same way for the northbound onramps. Real service roads run beneath the Port Washington Branch of the Long Island Rail Road to connect NY 25A and 35th Avenue (exit 6A). The service roads merge into the expressway north of 26th Avenue (exit 6B). The northbound partial interchange with Willets Point and Bell boulevards leads to Cross Island Parkway, while a southbound interchange leads to the southbound Cross Island Parkway, all before reaching the Throgs Neck Bridge. The expressway then crosses the bridge. After the Throgs Neck Bridge tollbooth in the Bronx, I-295 becomes part of the Cross Bronx Expressway Extension. Just north of the tollbooth is northbound access to Harding and Pennyfield avenues. The exit is right next to the Y interchange with I-695 (Throgs Neck Expressway), which takes motorists to northbound I-95. The only other interchange between there and the terminus is Randall Avenue. I-295, running northwest, gains service roads for a mile until it finally ends at its parent route at the Bruckner Interchange, but only includes access to southbound I-95, and I-278. ## History ### Planning The Clearview Expressway and Cross Bronx Expressway Extension were proposed in 1955 by the Port Authority of New York and New Jersey (PANYNJ) and Triborough Bridge and Tunnel Authority (TBTA) as part of the PANYNJ's Joint Study of Arterial Facilities, in order to connect with the planned Throgs Neck Bridge. The Cross Bronx Expressway Extension was planned to connect the bridge to several highways at the Bruckner Circle (now the Bruckner Interchange), while the Clearview Expressway was intended to connect with Horace Harding Boulevard (later the Long Island Expressway) in order to serve motorists from Long Island. Initially, the Clearview Expressway was intended to run along the existing right-of-ways of Utopia Parkway and Francis Lewis Boulevard. An alternate proposed routing would have run along Little Neck Bay and through Alley Pond Park, essentially parallel to the Cross Island Parkway. By September 1956, the Clearview Expressway was mapped along 206th and 207th streets and Hollis Court Boulevard, east of Francis Lewis Boulevard, after community opposition. The reroute reduced the number of properties to be demolished or relocated from 860 to 421. An information center was set up by the TBTA for local residents displaced by the expressway. The planning of the Clearview Expressway route by Robert Moses is documented in Robert Caro's biography of Moses, The Power Broker. A passage describes Moses and TBTA officials surveying potential routes for the highway in Queens, accidentally coming across protesters against the expressway. Caro writes that rather than being deterred by the protests, Moses "laughed and laughed" according to one aide's account. ### Construction and opening Construction on the Clearview Expressway and Throgs Neck Bridge began in September 1957. As part of the project, land was taken from Clearview Park, the defunct Bayside Golf Course, and Cunningham Park. Meanwhile, hundreds of homes were physically relocated from the path of the expressway. Many of these houses were placed in planned communities built on the sites of the Bayside Golf Course and the Oakland Country Club in Oakland Gardens. The Cross Bronx Expressway Extension, the Throgs Neck Bridge, and the portion of the Clearview Expressway north of 73rd Avenue in Queens were opened on January 11, 1961. An extension of the Clearview south to Hillside Avenue (now NY 25) was opened to traffic on August 12, 1963. It was the first of several highways built to serve the 1964 New York World's Fair. Because of the steep hill at the end of the expressway leading to Hillside Avenue, the junction quickly became a frequent spot for accidents. This led to the implementation of a 40-mile-per-hour (64 km/h) speed limit at the end of the highway, which remains in effect. This section of the route is a notorious speed trap. The modern Bruckner Interchange was opened on January 4, 1972. ### Post-opening The Cross Bronx Expressway Extension and the Clearview Expressway were originally designated as part of I-78, which was to continue south from Hillside Avenue through southeast Queens, and west across Queens, Brooklyn, and Manhattan to the Holland Tunnel. Under these plans, the Clearview would have been extended south to NY 27 (Conduit Avenue) and the Belt Parkway, or to the Nassau Expressway and Rockaway Boulevard, in Laurelton near John F. Kennedy International Airport. Later plans had the Clearview Expressway ending farther east, intersecting with the Belt Parkway at its interchange with the Southern State Parkway. A 1968 proposal from the Regional Plan Association had the Clearview Expressway extension running southeast along 212th Street/Hollis Court Boulevard and Hempstead Avenue, then south along the right-of-ways of the Cross Island and Belt parkways before ending at the Nassau Expressway. Ultimately, nearly all sections of I-78 between the Holland Tunnel and Hillside Avenue, including the Lower Manhattan Expressway, Bushwick Expressway, and the Clearview Expressway extension were canceled by Governor Nelson Rockefeller in 1971. The only portion to be constructed was the short section of the Nassau Expressway near John F. Kennedy International Airport. This resulted in the renumbering of all of I-78 north of Hillside Avenue to I-295 on January 1, 1970. There have been proposals during the 21st century to extend the Clearview Expressway south to feed into the JFK Expressway via a tunnel. The JFK Expressway had been built as part of a costly overhaul of John F. Kennedy International Airport that began in the late 1980s. The JFK Expressway south of the Nassau Expressway and 150th Street was completed around 1986 and it was fully completed by 1991. In February 2003, the Clearview Expressway was renamed "The 77th Infantry Division Expressway". The name honors the US Army's 77th Infantry Division of World War I and World War II fame. Raised from draftees from New York City and Long Island, the 77th was also known as the Statue of Liberty Division, due to its shoulder-sleeve insignia. ## Exit list ## See also

Christoph II von Dohna

German military personnel

Christoph II, Burggraf and Count of Dohna-Schlodien (25 October 1702 in Schlodien – 19 May 1762 in Berlin) was a Prussian general. He was the son of Christopher I, Burgrave and Count of Dohna-Schlodien (1665–1733). He served in the armies of Frederick William I of Prussia and his son, Frederick II, in the Silesian and Seven Years' wars. He was particularly successful at the Battle of Gross-Jägersdorf, and instrumental in relieving Siege of Kolberg. ## Family Christoph II descended from an old Prussian family, von Dohna, whose founder was Stanislaus von Dohna (1433–1504); his father, Christoph I. zu Dohna-Schlodien, was Stanislaus's great-grandson. His mother, Frede (Friederike) Marie (1660 –1729, Danzig), was the daughter of his uncle, Christian Albert, Burgrave and Count of Dohna. Christoph II married in Wildenfels on 18 October 1734 to Gräfin Friederike zu Solms-Wildenfels (28 Mai 1714 – 9 April 1755). She was the daughter of Friedrich Christoph zu Solms-Wildenfels (1712–1792). In April 1741 and in December 1742, the couple had daughters Sophia Albertine and Albertina Amalia. In 1747, when the couple had a daughter, the Princess Amalia and two younger brothers stood in for the King at the child's baptism. Christoph II's military career emulated that of other Junker sons. Many of the Junkers owned immense estates, especially in the north-eastern part of Prussia (i.e. the Prussian provinces of Brandenburg, Pomerania, Silesia, East Prussia and Posen). Their younger sons followed careers as soldiers (Fahnenjunker); consequently, the links between the Junker families to the Prussian Army firmly united the Prussian elite with the Prussian state. ## Military career Christoph II entered Prussian military in service during the reign of Frederick William I of Prussia and initially served in Infantry Regiment Nr. 23. On 16 August 1718, he was transferred to Infantry Regiment Nr. 3, where he subsequently received command of his own company in 1723. In 1727, the King promoted him directly to Lieutenant-Colonel. Frederick William died in May 1740 and his son, Frederick II declined to endorse the Pragmatic Sanction. By the end of 1740, with the death of Charles VI, Holy Roman Emperor, Prussia and Austria were at war over Maria Theresa's succession and inheritance. On 20 June 1745, Dohna was appointed major general by patent effective as of 15 May 1743. He became proprietor of Infantry Regiment Nr. 4 in 1745; this regiment, established in 1672, had been his father's and grandfather's during their military service. He later became the proprietor of Infantry Regiment Nr. 23 until 1748; on 14 July 1748, he became proprietor of Infantry Regiment No. 16, which had been established by his grandfather in 1689, and at which he remained until his death in 1762. On 25 January 1751, Frederick promoted him to lieutenant general. Dohna distinguished himself in the war against Austria, and subsequently in the first two of Frederick's three Silesian Wars. In 1751, he commanded the advanced guard of Hans von Lehwaldt's Corps against the Russians at the first battle of Groß-Jägersdorf, where he was wounded. Dohna was awarded the Order of the Black Eagle in 1753 and also promoted to lieutenant general in January of that year. After a brief interval of peace, in April 1758 he received the command of Prussia's troops in the Pomeranian Theater, fighting against the Swedes at Stralsund. Sweden's ally, Russia, sent an army to relieve the blockade, which Dohna held at bay with his small force until the Frederick's arrival with the main army at the Oder; Christoph II subsequently commanded a wing—22,000 strong—of the Prussian force at the first meeting at the Zorndorf, an arguably strategic victory for the Prussians but one at which they suffered high losses. Subsequently, he forced the Russians to lift their siege of the Battle of Kolberg, inflicting 600 casualties on the Russians. After relieving the siege, his wing moved against the Austrians under András Hadik in Saxony. By January 1759, he was back in Pomerania fighting the Swedes, and had taken the towns of Damgarten, Richtenberg, Grimm, Greifswald, Demmin and Anklam for Frederick, pushing the Swedes back to Stralsund and Rügen. In the years 1758–1759, campaigning in two theaters, Saxony and Upper Pomerania, some 340 kilometres (210 mi) distant from one another, damaged his health. In April 1759, Frederick recalled him to Berlin to recover, writing that Dohna was too sick to continue: "Vous êtes trop malade pour vous charger du commandement. Vous ferez bien de vous faire transporter ou à Berlin ou dans un endroit où vous pourrez remettre votre santé." ("You are too sick to lead your troops; bring yourself to Berlin where you can recover your health.") He was replaced by General Heinrich von Manteuffel. After his recovery, he rejoined the army at Landsberg on the Warthe. On 24 June 1759 he marched with Manteuffel into Poland in their unsuccessful effort to prevent the Russians from advancing into Silesia. On 22 July 1759, he opposed the Russian army at Züllichau, but he again was recalled to Berlin for health reasons before the armies could engage. Carl Heinrich von Wedel, his successor at Züllichau, engaged the Russian army at the Battle of Kay, which the Prussians lost with high casualties. After his recall, Dohna lived in Berlin until his death on 19 May 1762; his name is engraved on the Frederick II the Great Equestrian Memorial.

Hilaria Baldwin

American yoga instructor, author and businesswoman

Hilaria Baldwin (born Hillary Lynn Hayward-Thomas, January 6, 1984) is an American yoga instructor, entrepreneur, podcaster, and author. She was the co-founder of a chain of New York-based yoga studios called Yoga Vida, and has released an exercise DVD and a wellness-focused book. She has been married to actor Alec Baldwin since 2012. Baldwin, who is from the United States and says she vacationed in Spain in her youth, has at times represented herself as being from Spain, which has spurred accusations of cultural appropriation or "identity hoax[ing]". ## Early life Baldwin was born Hillary Lynn Hayward-Thomas in Boston, Massachusetts on January 6, 1984 to Kathryn Hayward and David Thomas Jr. Baldwin is of English, French-Canadian, German, Irish, and Slovak descent. Baldwin claims that she was raised in a Spanish-speaking household and traveled to Spain annually. Baldwin stated she has been a vegetarian since age five. Her mother grew up in Massachusetts and spent her career practicing medicine there; she was an associate physician at Massachusetts General Hospital and assistant professor of medicine at Harvard Medical School before retiring from both positions in 2012. Her father was an attorney with an undergraduate degree in Spanish literature from Haverford College and a law degree from Georgetown University. The couple founded International Integrators, an integrative health organization, after moving to Spain and settling in Mallorca in 2011, not long before their daughter married Alec Baldwin. She has a brother named Jeremy Hayward-Thomas. Her paternal grandfather was David Lloyd Thomas Sr. (1927/1928–2020), an "American with roots in the country that pre-dated the American Revolution", and her paternal grandmother, Mary Lou (Artman) Thomas, was from Nebraska. Thomas Sr. was a native of Ames, Iowa and traveled extensively to Argentina as an auditor for General Electric and at one point lived there. He exposed his children to world cultures and raised them to be proficient in Spanish. She attended the Cambridge School of Weston, a private co-educational high school in Weston, Massachusetts. She later started college at age 19 at New York University, where she was on the ballroom dance team. ## Career Baldwin started practicing yoga around age 20. While attending New York University, Baldwin opened the yoga studio Yoga Vida in 2009 along with Michael "Mike" Patton in the West Village of New York City, which eventually opened three other locations in the Noho, DUMBO, and Tribeca neighborhoods. The Tribeca Citizen wrote in 2016 that their location had a range of classes, including "pre- and post-natal, restorative, and heated by infrared light". In 2013, Spencer Wolff, a former student in one of her classes, sued Baldwin in Manhattan Supreme Court for an injury he allegedly sustained in the class. The lawsuit was settled a year later, with Wolff signing a non-disclosure agreement. In 2012, after marrying Alec, Baldwin became a lifestyle correspondent for the entertainment show Extra. The New York Times wrote that Baldwin got the position because Alec was a friend of Steve Sunshine, a producer for the show. In 2014, she shared a Daytime Emmy Award for Outstanding Entertainment News Program with her Extra colleagues. She periodically worked with Extra in that role through 2014. In October 2013, Baldwin released an exercise DVD titled @ Home with Hilaria Baldwin: Fit Mommy-to-Be Prenatal Yoga. Alec appears during a five-minute "bonus section". In June 2014, El País described Baldwin as the "Gwyneth Paltrow" of New York City in reference to being a working wealthy mother. Baldwin wrote the book The Living Clearly Method, which was released December 2016. When the book released, Baldwin started an associated website under the same name to promote it. In 2017, Baldwin was awarded the Wellness Foundation's Illumination Award at that organization's summer benefit in the Hamptons. In 2018, Baldwin partnered with podcaster Daphne Oz to create Mom Brain, a motherhood-focused podcast. Refinery29 described it as "a deep-dive into every single corner of motherhood, ranging from the serious moments to the hilarious ones, and everything in between". The two hosts went on The Rachael Ray Show in November 2018 to talk about the project, followed by the Today show in December of that year. As of May 2021, Baldwin had not recorded any more episodes since the start of the allegations of cultural appropriation in December 2020. In February 2019, Baldwin and her husband spoke to a United Nations panel about food choices and a sustainable planet at the launch of the EAT-Lancet Commission on Food, Health and Planet initiative. Baldwin was identified as a "wellness expert" on the panel. Baldwin has been on the cover of multiple magazines, the most notable of which include Hello!, Fit Pregnancy, ¡Hola!, Parents; and Belgium's Télépro. ## Personal life In February 2011, she met Alec Baldwin at Sarma Melngailis' New York restaurant Pure Food and Wine. Around August that year, the two began dating. They moved from the Upper West Side to Greenwich Village that August. The couple became engaged in April 2012 and married on June 30, 2012, in a Catholic ceremony at St. Patrick's Old Cathedral in New York City. On their wedding bands, they had Somos un buen equipo (English: We're a great team) engraved in Spanish inscribed on the inside. The couple have seven children together. She is also stepmother to Ireland Baldwin, Alec's daughter from his previous marriage to American actress Kim Basinger. Baldwin struggled with anorexia nervosa and bulimia in her high school years and early twenties. In her book Baldwin recounted she suffered health issues and was miserable; feeling that way motivated her future career as a healthy lifestyle advocate. Baldwin stated she started getting better when she started "thinking of weight and health separately". After her husband accidentally fatally shot cinematographer Halyna Hutchins with a prop gun in October 2021, Baldwin posted on her Instagram, "My heart is with Halyna. Her husband. Her son. Their family and loved ones. And my Alec." ## Allegations of cultural appropriation In December 2020, a Twitter user accused Baldwin of "impersonat[ing] a Spanish person" and posted a number of video clips of Baldwin speaking with a contrived Spanish accent, including a clip from the Today Show in which Baldwin seemingly forgot the English word for "cucumber". The tweets prompted a number of news articles and accusations of cultural appropriation, since at other times she was heard speaking American accented English. Her agency's website listed her birthplace as Mallorca rather than Boston, and commentators noted that Baldwin is often misidentified as either Mallorcan, Spanish, or Latina, encouraging positive press by Hispanic media such as the Spanish-language celebrity gossip magazine ¡Hola! In March 2021, The Atlantic listed Baldwin as an "identity hoaxer" along with Rachel Dolezal and Jessica Krug. Criticism of Baldwin as a hoaxer has expanded to conspiracy theories about other aspects of her life. Baldwin responded that she identifies as white, and her ethnic background includes "many, many, many things". She said she spent "some" of her childhood in Spain and "some" in Massachusetts, but had never been enrolled in school in Spain, only spending time there during family holidays. Baldwin also asserted in a New York Times interview that her inability to remember the word "cucumber" on Today came from stage fright during one of her first television appearances, and that she is bilingual and her accent comes and goes depending on stress and other factors. In July 2021 Baldwin described herself as "multi" and culturally "fluid".

Giant golden-crowned flying fox

Large bat species

The giant golden-crowned flying fox (Acerodon jubatus), also known as the golden-capped fruit bat, is a species of megabat endemic to the Philippines. Since its description in 1831, three subspecies of the giant golden-crowned flying fox have been recognized, one of which is extinct. The extinct subspecies (A. jubatus lucifer) was formerly recognized as a full species, the Panay golden-crowned flying fox. Formerly, this species was placed in the genus Pteropus; while it is no longer within the genus, it has many physical similarities to Pteropus megabats. It is one of the largest bat species in the world, weighing up to 1.4 kg (3.1 lb)—only the Indian and great flying fox can weigh more. It has the longest documented forearm length of any bat species at 21 cm (8.3 in). It is primarily frugivorous, consuming several kinds of fig and some leaves. It forages at night and sleeps during the day in tree roosts. These roosts can consist of thousands of individuals, often including another species, the large flying fox. Not much is known about its reproduction; it gives birth annually from April through June, with females having one pup at a time. Predators of the giant golden-crowned flying fox include raptors such as eagles, the reticulated python, and humans. Owing to deforestation and poaching for bushmeat, it is an endangered species. Though national and international law makes hunting and trade of this species illegal, these regulations are inadequately enforced, meaning that the species is frequently hunted nonetheless. Even in roosts that are more stringently protected from poaching, it is still affected by human disturbance via tourists who intentionally disturb them during the day. An early description of this species may be found in William Dampier's account of his circumnavigation, A New Voyage Round the World. ## Taxonomy The giant golden-crowned flying fox was described as a new species in 1831 by German naturalist Johann Friedrich von Eschscholtz. Eschscholtz placed it in the genus Pteropus with a scientific name of Pteropus jubatus. Its species name "jubatus" is from Latin, meaning "having a mane or crest, crested". The holotype had been collected on the Philippine island of Luzon during an expedition led by Otto von Kotzebue. The genus Acerodon was described six years later in 1837, with A. jubatus as the type species for the new genus. As of 2005, three subspecies of the giant golden-crowned flying fox are recognized: - A. jubatus jubatus (Eschscholtz, 1831) - A. jubatus mindanensis K. Andersen, 1909 - A. jubatus lucifer (Elliot, 1896) A. jubatus lucifer had been described as Pteropus lucifer in 1896 by Daniel Giraud Elliot. A. jubatus lucifer, commonly the Panay golden-crowned flying fox, is still sometimes considered an extinct species of megabat. A 1998 publication noted that there were no morphological differences that distinguish A. jubatus lucifer from A. jubatus. This publication was used by Mammal Species of the World and the IUCN as justification as listing A. jubatus lucifer as a subspecies of A. jubatus rather than as a full species. ## Description Overall, the giant golden-crowned flying fox is similar in appearance to many Pteropus species. It is different in its smaller canine teeth and its larger and more complex molars and premolars. Its upper incisors are slightly longer than Pteropus species, as well as sharper. Its four lower incisors have a greater disparity in length between the inner and outer pair than do Pteropus. Its dental formula is for a total of 34 teeth. The giant golden-crowned flying fox is one of the largest bat species in the world. It is among the heaviest of all bat species, with individuals weighing up to 1.40 kg (3.1 lb). The only bat species known to weigh more than the giant golden-crowned flying fox are the Indian flying fox (Pteropus medius) and great flying fox (Pteropus neohibernicus), with a maximum weight of 1.6 kg (3.5 lb) and 1.45 kg (3.2 lb) respectively. It has the longest forearm length of any species, measuring up to 215 mm (8.5 in). The great flying fox has a slightly shorter forearm length, and its wingspan is thus presumed to be lesser as well. The wingspan of the Indian flying fox is up to 1.5 m (4.9 ft), while the giant golden-crowned flying fox has a wingspan of 1.5–1.7 m (4.9–5.6 ft). This species is somewhat dimorphic, with males slightly larger than females in many cranial and external measurements. The giant golden-crowned flying fox gets its common name from its fur coloration. It has golden coloration that begins between its eyes and terminates to a narrow "V" shape at the nape of its neck, though sometimes extending to the upper shoulders. The sides of its face, brows, and throat are black, while the sides of its neck and upper back are maroon; this maroon fur transitions into brownish black, which then grades into reddish brown down the back. On its ventral (belly) side, its fur is generally black, though the front of the neck may have a maroon tinge and its belly may be interspersed with yellow hairs. Its hindlimbs are covered with brownish black fur, and its flight membranes are pale brown. ## Biology and ecology ### Diet and foraging The giant golden-crowned flying fox is largely frugivorous, though it also consumes plant leaves (folivorous). One study found that it is particularly dependent on Ficus fruits (figs), with Ficus seeds found in 79% of all fecal pellets. Especially common Ficus seeds were from the Urostigma subgenus (which includes Ficus species commonly referred to as banyan), as well as Ficus variegata. The results support that the primary food group is composed of fig species, including Ficus subcordata and unidentified leaves. There is a lack of consensus on whether items found frequently in the fecal samples are actually prioritized or found as an alternative food for these bats. Multiple types of figs can also contribute to different nutrients for the species. Frugivorous bats usually do not consume foods rich in protein. The overconsumption of fruits, paired with leaves may contribute to an adequate amount of protein in their diet. Figs are superior sources of calcium, which may also aid in their growth to adults. Like nearly all megabats, giant golden-crowned flying foxes cannot echolocate, and thus rely on sight to navigate. This species likely commutes long distances between its roost and foraging grounds. Individuals who roosted on the island of Maripipi, for example, were documented traveling more than 12 km (7.5 mi) to access sites on another island, Biliran. ### Roosting and behavior Giant golden-crowned flying foxes are nocturnal, sleeping for most of the day. They do engage in some social and maintenance behaviors during the day at times, with solitary behaviors such as self-grooming, excreting waste, and wing flapping more prevalent in the afternoon and social behaviors such as fighting and mating in the morning. It forms harmonious mixed species colonies with another megabat, the large flying fox (Pteropus vampyrus). When time to leave the roosts for nightly foraging, the two species will head in the same direction. In the 1920s, colonies of these two species would number as many as 120,000 individuals. As of 1992, the largest of these colonies was 5,000; many comprised only several hundred individuals. ### Reproduction Little is known about mating and reproduction of the giant golden-crowned flying fox. The litter size is one individual, with females likely producing no more than one litter per year. It has also been speculated that females may only give birth every other year. Based on limited observation, it is thought that females may not reach sexual maturity until two years of age. On Negros Island, females gave birth in April or May; based on other observations, females likely give birth during this time across its range. On the island of Maripipi, young were born in late May and June. This species show signs of a Type II survivorship curve. Parents take effort into the survivability of the offspring to ensure maturity and independent growth. This species may live up to 13–30 years in the wild. Although they typically live a long life in the wild, they are also hunted by humans and other apex predators such as the Philippine eagle. They may also be susceptible to wildlife diseases. The giant golden-crowned flying fox is impacted by ectoparasites (external parasites) including Cyclopodia horsfieldi, which is a species of fly in the family Nycteribiidae ("bat flies"). It is preyed on by several raptors including the Philippine eagle, white-bellied sea eagle, and possibly the Brahminy kite. Non-avian predators include the reticulated python and humans. Like many bat species, the giant golden-crowned flying fox has been investigated as a source of emerging infectious disease. One study tested for the presence Reston virus, a kind of Ebolavirus that affects some primates (though not humans), in a population of giant golden-crowned flying foxes at Subic Bay. Of fifty-six individuals tested for Reston virus, three were seropositive, meaning that they tested positive for antibodies against the virus. ## Range and habitat The giant golden-crowned flying fox is endemic to the Philippines; it was the first endemic species of that country to be described, which it was in 1831. Surveys reported in 2005 and 2011 documented this species on the islands of Bohol, Boracay, Cebu, Leyte, Luzon, Mindanao, Mindoro, Negros and Polillo. It was formerly found on the island of Panay, though this population has been extirpated. It is a forest specialist, occurring mostly at elevations from sea level to 1,100 m (3,600 ft). It prefers areas uninhabited by humans. A 2005 study found none in inhabited areas. The same study also revealed that these bats use river corridors called riparian zones more than originally thought, because the fig trees located near rivers are the bats' main source of food. They like to be close to agricultural fields, but only in undisturbed forest areas. ## Conservation As of 2016, the giant golden-crowned flying fox is listed as an endangered species by the IUCN. It meets the criteria for this designation because its population likely declined by more than 50% from 1986–2016. One of the largest factors in its decline is hunting for bushmeat. Its large body size means that it is an easier target than many other bats. The practice of shooting the giant golden-crowned flying fox at its roosts results in excessive mortality, as dead individuals may not fall from the tree, and wounded individuals may glide some distance before falling. Therefore, a poacher may kill as many as thirty bats to recover ten. The giant golden-crowned flying fox is threatened by deforestation and has completely disappeared from many islands in the Philippines, such as Panay and most of Cebu. Since 1900 the total forest coverage of the Philippines has been reduced from 70% to 20%. Less than 10% of the original lowland forest cover now remains. Negros, an island part of its range, retains only 4% of its original forest coverage. Internationally, the giant golden-crowned flying fox is protected by the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES). In 1990, two of the three subspecies (A. j. lucifer and A. j. mindanensis) were included on CITES Appendix II, meaning that trade of the taxa was strictly regulated. In 1995, the species was placed CITES Appendix I. Appendix I is stricter than Appendix II, meaning that commercial trade of the species is only legal in exceptional circumstances. Nationally, the species is protected by the 2001 Philippine Wildlife Resources Conservation and Protection Act, though this law is inadequately enforced. While the majority of its roosts are within protected areas, illegal hunting occurs at a wide scale even within such areas. Three are largely protected in practice. On the island of Boracay, local landowners protect the roost from hunting disturbance. The local governments of Subic Bay and Mambukal protect another two roosts. Even though hunting pressures are lessened at these three roosts, the giant golden-crowned flying fox contends with other sources of disturbance. Tourists and their guides deliberately disturb the bats by clapping their hands or rapping on tree trunks to make the bats fly. In addition to keeping the bats from sleeping, these behaviors result in the separation of offspring from their mothers. In 2013, Bat Conservation International (BCI) listed this species as one of the 35 species of its worldwide priority list of conservation. Actions that BCI has taken to promote its conservation include partnering with local non-governmental organizations (NGOs) to protect its roosts, as well as educate Filipinos about bats. Some captive breeding programs exist for the species, though it is uncertain if they are sufficient to make up for population declines seen in the wild.

The Village Green Preservation Society

1968 song by The Kinks

"The Village Green Preservation Society" is a song by the English rock band the Kinks from their 1968 album The Kinks Are the Village Green Preservation Society. Written and sung by the band's principal songwriter Ray Davies, the song is a nostalgic reflection where the band state their intention to "preserve" British things for posterity. As the opening track, the song introduces many of the LP's themes, and Ray subsequently described it as the album's "national anthem". Ray was inspired to write "The Village Green Preservation Society" after hearing someone express that the Kinks had been preserving "nice things from the past". Written and recorded in August 1968 as sessions for the band's next album neared completion, the song was intended to be a new title track after he remained unsatisfied with the album's working title Village Green. The song pairs pop and rock music with elements of English music hall, indicating Ray's continued interest in the genre. It has received generally favourable reviews from critics, but later commentators dispute how much of its lyrics were to be considered ironic; some consider them reactionary and others find the tone partially parodic. Coinciding with the band's "God Save the Kinks" promotional campaign, the song was issued as a US single in July 1969, though it failed to chart. The Kinks regularly included the song in their live set list in the 1970s, '80s and '90s. ## Background and recording Ray Davies composed "The Village Green Preservation Society" around August 1968, after the other eleven songs for the Kinks' next album had been recorded. In a contemporary interview, he explained that the song's central inspiration spawned from a conversation where someone suggested that the Kinks had been preserving "nice things from the past", and he hoped to capture the idea within a single song. Ray had been unsatisfied with the LP's working title Village Green but was unsure how to replace it; after composing the song, he re-titled the album The Kinks Are the Village Green Preservation Society. The Kinks recorded "The Village Green Preservation Society" around 12 August 1968 in Pye Studio 2, one of two basement studios at Pye Records' London offices. Ray is credited as the song's producer, and Pye's in-house engineer Brian Humphries operated the four-track mixing console. Author Andy Miller writes the song's arrangement is defined by Mick Avory's "especially exuberant" drumming and the "similarly light and effective" piano contribution, played by either Ray or session keyboardist Nicky Hopkins. Ray's organ contribution is emphasised in the mix over Dave Davies's acoustic rhythm guitar. ## Composition ### Music and lyrics The musical composition of "The Village Green Preservation Society" is simple, employing four chords and a midway modulation from C to D major. Miller considers it a pop song, and The Harvard Dictionary of Music characterises it as a rock song with elements of English music hall. Author Patricia Gordon Sullivan considers it one of several songs on Village Green played in the style of music hall, a theme she writes Ray established on the band's 1967 album Something Else by the Kinks. Ray later recalled that though he never went to a music hall performance as a child, his style of composition was heavily influenced by his father, who regularly went to musicals and dances and encouraged his children to sing songs at the piano. The lyrics of "The Village Green Preservation Society" help establish the themes of Village Green; Ray subsequently described the song as the album's "national anthem". The lyrics state the band's intention to "preserve" things from the past and consists of a listing of institutions to be saved for posterity. Things listed include vaudeville, the George Cross medal and its recipients, draught beer and virginity, among others. In addition to "The Village Green Preservation Society", the singers adopt other identifiers, like "the Custard Pie Appreciation Consortium" and "the Skyscraper Condemnation Affiliate". Ray and Dave harmonise closely throughout, and Ray's voice is emphasised at the midway point and its closing. The song concludes with its final lyric "God save the village green!", backed with falsetto harmony vocals. ### Interpretation Later commentary regarding "The Village Green Preservation Society" centres around the song's degree of irony. The academic Mark Doyle considers the song emblematic of an ambiguity which characterises Ray's songwriting, holding a tension between both longing for the past and the rejection of longing, leaving it unclear whether the song should be interpreted seriously or satirically. He writes that in its tension between being either an earnest call for preservation of English heritage or a satire of traditionalists, Ray's writing forces the listener to evaluate the merits of both positions. Like Doyle, the band biographers Rob Jovanovic and Johnny Rogan each suggest that the song is simultaneously ironic and Ray's sincere expression of love for many of the things listed. Some commentators consider elements of the song reactionary, such as the opposition to office blocks and skyscrapers. Rogan compares the sentiments to the UK Conservation Society's 1966 founding promise to "[fight] against the menace of decreasing standards". Ray countered interpretations that the song was reactionary in a 1984 interview, instead characterising it as "a warm feeling, like a fantasy world that I can retreat to". Author Barry J. Faulk writes that following Ray's November 1968 explanation that the song was meant to capture the Kinks' penchant for preservation, the song's message was meant to directly contrast with that of contemporary rock songs like the Rolling Stones' 1968 single "Street Fighting Man". Miller writes that though it "lack[s] the righteousness and glamour" of the Rolling Stones' single, "The Village Green Preservation Society" is a "quiet song of defiance". Doyle considers the band's defiant sentiments an "anti-authoritarian preservationism of the little man", pointing to Dave's later explanation of the song's opening harmonies: "It was like, 'We're impenetrable. We might not have a lot, but you can't kill us. You're going to have to shoot us.'" "The Village Green Preservation Society" includes elements of autobiography and self-parody. Ray and Dave grew up in Fortis Green, a suburban neighbourhood of Muswell Hill in North London; though the area did not have a traditional village green as a common area, Ray has regularly described the area in rural terms. In a 2009 interview, he explained that "North London was my village green, my version of the countryside", further mentioning Waterlow Park in the nearby suburb of Highgate and its small lake as an influence. In the two weeks before "The Village Green Preservation Society" was recorded, Ray moved out of his East Finchley semi-detached home on Fortis Green and into a larger Tudor house in the suburbs of Borehamwood, Hertfordshire. In the song, Ray sings for God to save Tudor houses, antique tables and billiards, which Rogan thinks was Ray's self-mockery over his increased social standing. Rogan further suggests "the Anglocentric ideal has already been tainted" by the mention of Donald Duck, an American creation, but cultural researcher Jon Stratton writes Britons could still be nostalgic for the character since he had been popular in Britain since before the Second World War. ## Release Ray sequenced "The Village Green Preservation Society" as the opening track of his original twelve-track edition of The Kinks Are the Village Green Preservation Society. In the United Kingdom, Pye planned to release the album on 27 September 1968, but Ray halted its release in mid-September in order to expand its track listing. Pye released the expanded fifteen-track edition of the album in the UK on 22 November 1968, retaining "The Village Green Preservation Society" as the album's opening track. To help promote the album, the Kinks performed the song on 26 November 1968 for BBC Radio 1 programme Saturday Club at the Playhouse Theatre in central London. The band also lip-synced the song for ITV programme Time For Blackburn (Pop, People & Places), broadcast on 21 December 1968. Reprise Records issued "The Village Green Preservation Society" as a US single backed with "Do You Remember Walter?" in July 1969. The single did not chart in America but reached number 19 on Danmarks Radio's chart in Denmark, where the song was instead backed with "Picture Book". The US release coincided with Warner Bros. Records' "God Save the Kinks" promotional campaign, which sought to reestablish the band's status in America after their informal four-year performance ban was lifted in the country. The Kinks' return tour of North America ran from October to December 1969, during which they regularly included "The Village Green Preservation Society" as part of their set list. The song also featured in concerts throughout the 1970s, '80s and '90s. ## Reception In his September 1968 preview of Village Green for New Musical Express, critic Keith Altham was especially fond of the title track, which he thought could have made it to in the UK had it been issued as a single. The reviewer for Disc and Music Echo similarly counted it as one of the most memorable songs on the album. In Paul Williams's June 1969 review of the album for Rolling Stone magazine, he praised several elements of the song, including its drums, bass and vocals. He added that "[t]he tune, the rhythm, are more of a delight with each verse", and that it was almost "unbearable" that the song had to finish. Following the song's July 1969 US single release, Cash Box magazine's review staff designated it "Choice Programming" – indicating they thought it deserved the special attention of radio programmers – and the reviewer expected that the band's committed followers would enjoy the song's "cute Anglo-rock effort". Among retrospective assessors, J. H. Tompkins of the website Pitchfork considered the song an example of Ray's best work, done "with a quiet, ironic smile". Critic Stewart Mason of AllMusic agrees that the song is musically one of Ray's best, but he finds its lyric less effective than the Ray's similarly themed 1967 composition "Autumn Almanac". He adds that though "The Village Green Preservation Society" is likely the best known song from Village Green, the album's cult status means that the song holds a different position from the Kinks' biggest hits, ultimately concluding that other critics may have "slightly overpraised" the song. In a piece for Billboard magazine ranking all of the album's tracks, Morgan Enos placed the song ninth out of fifteen, writing that in spite of its cheerful sound, the song "aches with longing".

Nimrod (computer)

1951 British computer

The Nimrod, built in the United Kingdom by Ferranti for the 1951 Festival of Britain, was an early computer custom-built to play Nim, inspired by the earlier Nimatron. The twelve-by-nine-by-five-foot (3.7-by-2.7-by-1.5-meter) computer, designed by John Makepeace Bennett and built by engineer Raymond Stuart-Williams, allowed exhibition attendees to play a game of Nim against an artificial intelligence. The player pressed buttons on a raised panel corresponding with lights on the machine to select their moves, and the Nimrod moved afterward, with its calculations represented by more lights. The speed of the Nimrod's calculations could be reduced to allow the presenter to demonstrate exactly what the computer was doing, with more lights showing the state of the calculations. The Nimrod was intended to demonstrate Ferranti's computer design and programming skills rather than to entertain, though Festival attendees were more interested in playing the game than the logic behind it. After its initial exhibition in May, the Nimrod was shown for three weeks in October 1951 at the Berlin Industrial Show before being dismantled. The game of Nim running on the Nimrod is a candidate for one of the first video games, as it was one of the first computer games to have any sort of visual display of the game. It appeared only four years after the 1947 invention of the cathode-ray tube amusement device, the earliest known interactive electronic game to use an electronic display, and one year after Bertie the Brain, a computer similar to the Nimrod which played tic-tac-toe at the 1950 Canadian National Exhibition. The Nimrod's use of light bulbs rather than a screen with real-time visual graphics, however, much less moving graphics, does not meet some definitions of a video game. ## Development In the summer of 1951, the United Kingdom held the Festival of Britain, a national exhibition held throughout the UK to promote the British contribution to science, technology, industrial design, architecture, and the arts and to commemorate the centenary of the 1851 Great Exhibition. British engineering firm and nascent computer developer Ferranti promised to develop an exhibit for the Festival. In late 1950, John Makepeace Bennett, an Australian employee of the firm and recent Ph.D. graduate from the University of Cambridge, proposed that the company create a computer that could play the game of Nim. In Nim, players take turns removing at least one object from a set of objects, with the goal of being the player who removes the last object; gameplay options can be modeled mathematically. Bennett's suggestion was supposedly inspired by an earlier Nim-playing machine, "Nimatron", which had been displayed in 1940 at the New York World's Fair. The Nimatron machine had been designed by Edward Condon and constructed by Westinghouse Electric from electromechanical relays, and had weighed over a ton. Although Bennett's suggestion was a game, his goal was to show off the computer's ability to do mathematical calculations, as Nim is based on mathematical principles, and thus showcase Ferranti's computer design and programming skills rather than to entertain. Ferranti began work on building the computer on 1 December 1950, with engineer Raymond Stuart-Williams adapting the design by Bennett into a working machine. Development was completed by 12 April 1951, resulting in a device twelve feet wide, nine feet deep, and five feet tall. The majority of the volume was taken up by vacuum tubes and the light bulbs that displayed the state of the game, with the actual computer taking up no more than two percent of the total volume of the machine. The Nimrod took the form of a large box with panels of lights, with a raised stand in front of it with buttons corresponding with the lights, which in turn represented the objects the player could remove. The player would sit at the stand and press the buttons to make their moves, while one panel of lights showed the state of the game, and another showed the computer's calculations during its move. The computer could be set to make its calculations at various speeds, slowing down so that the demonstrator could describe exactly what the computer was doing in real time. A visual guide attached to the Nimrod explained what the computer was doing during its turn, as well as showing possible game states and how they would be represented by the lights. Signs stating which player's turn it was and whether one or the other had won would light up as appropriate during gameplay. ## Presentation On 5 May 1951, the Nimrod computer was presented at the Festival as the Nimrod Digital Computer, advertised as "faster than thought" and an "electronic brain". It exclusively played the game of Nim; moves were made by players seated at the raised stand, with the demonstrator sitting on the other side between the stand and the computer. Nimrod could play either the traditional or "reverse" form of the game. A short guidebook was sold to visitors for one shilling and sixpence explaining how computers worked, how the Nimrod worked, and advertising Ferranti's other developments. It explained that the use of a game to demonstrate the power of the machine did not mean that it was meant for entertainment and compared the mathematical underpinnings of Nim with modeling the economics of countries. Players of the Nimrod during the Festival included computer science pioneer Alan Turing. Although it was intended as a technology demonstration, most of the onlookers at the Festival of Britain were more interested in playing the game than in the programming and engineering logic behind it. Bennett claimed that "most of the public were quite happy to gawk at the flashing lights and be impressed." BBC Radio journalist Paul Jennings claimed that all of the festival attendees "came to a standstill" upon reaching the "frightful" "tremendous gray refrigerator". After the Festival, the Nimrod was showcased for three weeks in October at the Berlin Industrial Show, where it also drew crowds, including the West Germany economics minister Ludwig Erhard. It was then briefly shown in Toronto; afterwards, however, as it had served its purpose the Nimrod was dismantled. As the Nimrod was not intended as an entertainment product, it was not followed up by any future games, and Ferranti continued its work on designing general purpose computers. Nim was used as a demonstration program for several computers over the next few years, including the Norwegian NUSE (1954), Swedish SMIL (1956), Australian SILLIAC (1956), Polish Odra 1003 (Marienbad, 1962), Dutch Nimbi (1963), and French Antinéa (1963). The Nimrod was created only four years after the 1947 invention of the cathode-ray tube amusement device, the earliest known interactive electronic game, and one year after a similar purpose built game-playing machine, Bertie the Brain, the first computer-based game to feature a visual display of any sort. The Nimrod is considered under some definitions one of the first video games, possibly the second. While definitions vary, the prior cathode-ray tube amusement device was a purely analog electrical game, and while the Nimrod and Bertie did not feature an electronic screen they both had a game running on a computer. The software-based tic-tac-toe game OXO and a draughts program by Christopher Strachey were programmed a year later in 1952 and were the first computer games to display visuals on an electronic screen rather than through light bulbs.

An Introduction to the Three Volumes of Karl Marx's Capital

2004 book by Michael Heinrich

An Introduction to the Three Volumes of Karl Marx's Capital (German: Kritik der politischen Ökonomie: Eine Einführung) is a book by German Marxist scholar Michael Heinrich examining the three volumes of Karl Marx's major economic work Capital. Published in German in 2004, the book is structured as a shortened account of Marx's analysis of capitalism, and is written from the standpoint of the Neue Marx-Lektüre school of thought, criticising both Marxist and bourgeois readings of Marx. The book was first published in Germany by and became one of the most popular introductions to Capital in the country. It was the first of Heinrich's works to be translated into English, with a 2012 edition by Monthly Review Press. ## Background Michael Heinrich published An Introduction to the Three Volumes of Karl Marx's Capital in 2004 while working as a lecturer in economics at HTW Berlin. He was the managing editor of '' until 2014 and was a contributor to the Marx-Engels-Gesamtausgabe (MEGA; lit. 'Marx-Engels Complete Writings'). In a 2011 interview, Heinrich stated that the aim of the book was to present Marx's Capital and other basic elements of Marx's theory to new readers. The foundations for the book were laid in his 1991 PhD thesis The Science of Value (German: Die Wissenschaft vom Wert) which, along with the Introduction, was published as part of a wider discourse in Germany on the monetary character of Marx's theory of value. This revival of research into Marx, known as the Neue Marx-Lektüre (lit. 'New Reading of Marx'), was based on the earlier work of Western Marxists like Theodor Adorno and Louis Althusser and was initiated by West German scholars Hans-Georg Backhaus and Helmut Reichelt during the 1960s and 1970s. The Neue Marx-Lektüre involved a re-examination of Marx's auxiliary texts and the theoretical distinctions between the different editions of Capital that were published in the second edition of MEGA in 1975. As part of the Neue Marx-Lektüre, the book rejects "worldview Marxism" (German: Weltanschauungsmarxismus), which Heinrich characterises as a reading of Marx marked by its oversimplification of social phenomena as the result of purely economic interests, its historical determinism, and view of Marx's theories as "all-encompassing". In the book, Heinrich attributes the development of "worldview Marxism" to the contributions of Friedrich Engels and Karl Kautsky following Marx's death that were later incorporated into Marxism–Leninism. The book contests that Marx had adopted the ideas of classical economics and its labour theory of value in an attempt to build an alternative political economy and instead argues that Marx's project was based on a critique of the presuppositions of all established economic science. Following the 1993 publication of the original economic manuscripts for Volumes II and III of Capital in MEGA, Heinrich argued that Engels had distorted Marx's manuscripts as part of his attempt to publish a coherent third volume. This stance was met with harsh criticism and generated a number of defences of Engels's editorial work. In the book, Heinrich argues that Capital was a fragmented and unfinished work that therefore included concepts that that needed to be redesigned to be used for concrete economic analysis. ## Summary Heinrich's Introduction is organised around various themes in Marx's work, and draws on his unfinished manuscripts the Grundrisse and Theories of Surplus Value in addition to its reading of Capital. Chapters 1 and 2 of the book introduce and place the book within the wider Marxist corpus. Chapters 3–5 discuss Capital Volume I, chapter 6 discusses Volume II, and chapters 7–10 discuss Volume III; chapters 11 and 12 discuss theories of the state and communism, respectively. The book also incorporates an analysis of the differences between the various revisions made by Marx to Capital, as well as a wide range of historical documents. Like other Neue Marx-Lektüre adherents, Heinrich favours a monetary reading of Marx's theory of value, arguing against conventional conceptions of Marx's theory of value, where the value of a commodity is derived from its socially necessary labour time. Against readings of Marx's theory of value as a labour theory of value, Heinrich argues that Marx's value theory conceptualises value as a historical social relation where an individual commodity has tangible value only through the act of exchange. By calling value and price two different levels of abstraction, Heinrich's reading of Marx sidesteps the transformation problem, a commonly raised criticism of Marx's Capital on the difficulty of establishing a consistent relationship between value and price. The book devotes special attention to the concepts of fetishism and reification to correct common misconceptions that confuse the concepts with false consciousness, alienation, or simple consumerism. Heinrich argues that Marx's theory of fetishism constitutes a theory of social domination that applies not just to commodities, but to capital and to "social relations in bourgeois society" as well. Heinrich also rejects the significance of the tendency of the rate of profit to fall in Marx's theory of crisis. He argues against popular interpretations that suggest a law between a rise in the organic composition of capital and a fall in the rate of profit, which fail to consider the contradictory effects that capitalist development can have on the rate of profit. ## Reception The Introduction has been praised for its systematic examination of Marx and for its comprehensive inclusion of Volumes II and III of Marx's Capital, in contrast to many other books on Marx's critique of political economy which primarily write about Volume I. Heinrich insists in the book that a reading of Capital must include Volumes II and III to not be subject to distortion. Academic praised the book for its attention to detail on the various differences between the different editions of Marx's Capital. In Germany, the book has been reprinted many times and is widely used in universities and Capital reading groups. Author Doug Henwood praised the book as one of the best short introductions to Marx's Capital. Writing in Historical Materialism, historian Guido Starosta praised Heinrich's commentary on commodity fetishism for its rigour, contrasting it from David Harvey's A Companion to Marx's Capital, which he criticised for trivialising commodity fetishism. Similarly, Chris O'Kane, writing in the Marx & Philosophy Review of Books, and Petrino DiLeo, writing in the International Socialist Review, both praised Heinrich's treatment of fetishism for its lucidity. The Marxian economist Paul Cockshott praised the Introduction for its clarity while criticising Heinrich's interpretation of Marx, arguing that Heinrich's break from conventional interpretations of Marx would detach the scientific method from the labour theory of value. Sociologist John Holloway likewise praised the book as "impressively clear", but said he did not share its interpretation of Marx. Social scientist Christian Fuchs criticised the book for suggesting that Heinrich's reading of Marx is universally accepted and the one correct reading of Marx. Fuchs also took issue with Heinrich's understanding of value as the product of exchange, arguing that Heinrich's approach would suggest that "no exploitation has taken place if a commodity is not sold". ## See also - Das Kapital - Critique of political economy - Law of value - Reading Capital'' - Valorisation

? Nycticebus linglom

Possible extinct species of primate

? Nycticebus linglom is a fossil strepsirrhine primate from the Miocene of Thailand. Known only from a single tooth, an upper third molar, it is thought to be related to the living slow lorises (genus Nycticebus), but the material is not sufficient to assign the species to Nycticebus with certainty, and the species name therefore uses open nomenclature. With a width of 1.82 mm, this tooth is very small for a primate. It is triangular in shape, supported by a single root, and shows three main cusps, in addition to various crests. The absence of a fourth cusp, the hypocone, distinguishes it from various other prosimian primates. ## Taxonomy ? Nycticebus linglom was described in 1997 by French paleontologists Pierre Mein and Léonard Ginsburg in a report on the fossil mammals of Li Mae Long, a Miocene site in Thailand, about 17–18 million years old. The animal is known from a single tooth, and on the basis of comparisons with other prosimian primates Mein and Ginsburg concluded that it is most closely related to the living slow lorises (genus Nycticebus). However, in view of the very limited material, they only tentatively assigned the fossil species to Nycticebus, using open nomenclature. The specific name, linglom, is the Thai word for "loris". ## Description The single known tooth, a third upper molar (M3) known as T Li 41, is tiny, with a length of 1.29 mm and width of 1.82 mm. Mein and Ginsburg claim that it is the smallest known prosimian molar. The tooth is triangular in shape and shows a simple, reduced morphology. Three important cusps—the protocone, paracone, and metacone—are present, connected by a crest. They are low and rounded. The metacone, located at the back of the tooth, is closer to the protocone, which is on the front lingual corner (the side of the tongue), than it is to the paracone on the front labial corner (the side of the cheeks). The protocone is rounded on the lingual side and is attached to a weak crest on the front and back. On the front labial corner, a lengthy crest, the parastylar crest, is present, which includes a minor cusp known as a parastyle. Some wear is visible on the parastylar crest, and at the front of the tooth where a contact facet with the preceding second upper molar is present. The tooth has a single, well-developed root, which contains a number of grooves, suggesting that it consists of three smaller, fused rootlets. ? Nycticebus linglom is much smaller than the fossil sivaladapine primates, and unlike tarsier M3s, the single known fossil is reduced in form and lacks a fourth main cusp, a hypocone. With its reduced, triangular form, it more closely resembles lorises (family Lorisidae), but the absence of a hypocone also distinguishes it from the slender lorises (Loris), the angwantibos (Arctocebus), and the pygmy slow loris (Nycticebus pygmaeus). The fossil genus Nycticeboides lacks the rounded lingual face of the protocone seen in ? N. linglom and possesses additional cuspules. However, ? N. linglom strongly resembles the Bengal slow loris (Nycticebus bengalensis), from which it is distinguished by its smaller size and fused roots. Nekaris and Nijman (2022), when applying the name Xanthonycticebus to the pygmy slow slow loris, discussed the similarities and differences of T Li 4, and concluded that for now it is best retained as ? N. linglom. ## Range and ecology Li Mae Long, the collection site of ? N. linglom, is dated to the latest Early Miocene, corresponding to the European zone MN 4, around 18 mya. It is in the Thai province of Lamphun. The fossil fauna encompasses 34 species of mammals, including the tarsier Hesperotarsius thailandicus and the treeshrew Tupaia miocenica. Mein and Ginsburg conclude that the fauna represents a tropical forest environment close to a shallow lake.

Matt Byrne

British wheelchair basketball player

Matthew "Matt" Byrne (born 8 October 1974) is a British wheelchair basketball player. He participated at the 2004 Summer Paralympics in Athens where he finished in third position. At the 2008 Summer Paralympics in Beijing, Byrne finished in bronze medal position with Great Britain. He played for United Kingdom at the 2012 Summer Paralympics in London. ## Personal life Byrne was born in 1974 in Nottingham. He is a paraplegic, meaning that he has an impairment in motor or sensory function of the lower extremities. He was introduced into wheelchair basketball during his rehabilitation at a hospital following a motorcross accident at the age of fifteen he is also married to Anna Byrne that is a teacher at The Long Eaton School. ## Wheelchair basketball Byrne first played wheelchair basketball in 1991, and joined the Sheffield Steelers club for five years before moving to the Nottingham Jaguars, near where he was born. His current club, the Wolverhampton Rhinos (RGK TCAT Rhinos), have won the Super League many times during his time there. He made his début for the Great Britain national team in 2001. Byrne participated in the 2001/2002 European Championships in Amsterdam, his first time competing at a major international event. He and the United Kingdom national team finished in fourth position, out of medal contention. In 2002, he won a silver medal at the 2002 World Championships in Kitakyushu, a city on the third-largest island of Japan. He finished third and won a bronze medal at the Sassari 2003 European Championships. Byrne competed in the 2004 Summer Paralympic Games in Athens, Greece; he and the United Kingdom national team won the bronze medal. Following his first Paralympics, Byrne and his team won a silver medal at the 2005 European Championships in Paris and took fifth place at the world championships in Amsterdam the following year. The U.K. team won the silver medal at the European Championships in Wetzlar, Netherlands in 2007. Byrne and the U.K. team proceeded to win bronze at the 2008 Summer Paralympics in Beijing. The following year, he also won bronze at the European Championships in Adana, Turkey. In 2011, he and his team won gold at the European Championships in Nazareth, northern Israel. Byrne was a member of the U.K.'s wheelchair basketball national team at the 2012 Summer Paralympics, held in London. The team finished in fourth place after losing to Canada and the United States. In 2012, Byrne was made co-captain of the Great Britain Men's Wheelchair Basketball team.

Maryland Route 68

State highway in Washington County, Maryland, US

Maryland Route 68 (MD 68) is a state highway in the U.S. state of Maryland. The state highway runs 18.50 miles (29.77 km) from U.S. Route 40 (US 40) in Clear Spring east to US 40 Alternate in Boonsboro. MD 68 crosses central Washington County to the south of Hagerstown, connecting Clear Spring and Boonsboro with Williamsport, where the highway runs concurrently with MD 63. A small segment of MD 68 west of Boonsboro was constructed around 1920, using as part of the route two early 19th-century stone bridges. The remainder of the highway between Boonsboro and Williamsport was constructed in the second half of the 1920s. MD 68 was extended west from Williamsport to Clear Spring in the mid-1950s. The state highway was relocated south of Williamsport for the construction of Interstate 81 (I-81) in the mid-1960s. Since the early 1990s, I-68 has also existed in Washington County; signs on I-70 aim to avoid confusion between I-68 and MD 68. ## Route description MD 68 begins at an intersection with US 40 (Cumberland Street) in the town of Clear Spring. The state highway heads south as four-lane undivided Mill Street through a commercial area. MD 68's name changes to Clear Spring Road after leaving the town limits. The state highway meets I-70 (Eisenhower Memorial Highway) at a diamond interchange, then heads southeast through farmland as a two-lane undivided road, where the highway crosses Little Conococheague Creek. MD 68 intersects the eastern end of MD 56 (Big Pool Road) shortly before passing through the village of Pinesburg. The state highway intersects CSX's Lurgan Subdivision rail line at-grade and passes between industrial properties, then crosses Conococheague Creek and enters the town of Williamsport. MD 68 is municipally maintained within the town, where the highway follows Conococheague Street south through an intersection with US 11 (Potomac Street). At this intersection, MD 63 joins MD 68 in a concurrency to continue through the Williamsport Historic District. The two highways leave the town limits at their diamond interchange with I-81 (Maryland Veterans Memorial Highway), through which the roadway temporarily expands to a four-lane divided highway. A park and ride lot is located within the northwest quadrant of this interchange. MD 68's name changes to Lappans Road south of Williamsport. MD 63 (Spielman Road) splits south from MD 68 at the same intersection as Governor Lane Boulevard, which serves an industrial park. MD 68 crosses over a Winchester and Western Railroad line and curves to the east, then resumes heading southeast after intersecting the eastern end of Kendle Road. The state highway heads southeast through farmland and intersects MD 632 (Downsville Pike). The road crosses Norfolk Southern Railway's Hagerstown District at-grade and crosses St. James Run in the hamlet of St. James. MD 68 intersects MD 65 (Sharpsburg Pike) in the hamlet of Lappans, where the highway passes north of St. Mark's Episcopal Church. The state highway passes through the hamlet of Brethedsville and passes Devils Backbone County Park as the highway follows Antietam Creek for a short distance. MD 68 crosses over the creek on a narrow stone bridge, then makes a sharp turn to the south to continue following the forested valley of the creek. The state highway crosses over Beaver Creek on a one-lane stone bridge before leaving the creek valley. MD 68 continues southeast through farmland and the hamlet of Millpoint before reaching its eastern terminus at US 40 Alternate (Main Street) on the northern edge of the town of Boonsboro. ## History The first section of MD 68, from Lappans to Millpoint near Boonsboro, was constructed in 1920. This segment made use of a pair of stone arch bridges over Antietam Creek and Beaver Creek constructed in 1833 and 1824, respectively. These bridges remain open to traffic as part of MD 68. MD 68 was extended east from Millpoint to Boonsboro in 1925. Construction of MD 68 from Williamsport to Lappans began in 1926, with a section complete from Williamsport to the Cumberland Valley Railroad (now Winchester and Western Railroad) by 1927. The last section of the Williamsport–Lappans Road was completed in 1930. The state highway's western terminus was originally US 11 in Williamsport, within which MD 68 followed Artizan Street south to Sunset Avenue at the southern town limit. Artizan Street continued south as MD 63 and MD 68 followed Sunset Avenue southeast toward Lappans. Clear Spring Road remained a county highway until MD 68 was extended west to Clear Spring in 1956. MD 68 was relocated south of Williamsport, replacing Sunset Avenue and what is now Kendle Road, in 1965. The state highway was relocated for a grade separation of the Cumberland Valley Railroad and to tie into an interchange with I-81 and the south end of Conococheague Street. MD 63 joined MD 68 in a concurrency along Conococheague Street north to US 11. The new alignment of MD 68 and MD 63 was built as a four-lane divided highway around the interchange with I-81, which originally only contained ramps to and from the direction of West Virginia when the interchange opened with the completion of I-81 in 1966. That interchange was completed with ramps to and from Hagerstown between 1981 and 1989. Since the completion of I-68 in 1991, the Interstate and state-numbered highways with the same number have co-existed separated by 17 miles (27 km) on I-70. Multiple signs on westbound I-70 in advance of the Interstate's interchange with MD 68 advise motorists that I-68 and MD 68 are not the same highway and remind them to remain on I-70 to access I-68. ## Junction list ## See also

M-40 (Michigan highway)

State highway in Cass, Van Buren, and Allegan counties in Michigan, United States

M-40 is a north–south state trunkline highway in the Lower Peninsula of the US state of Michigan. The highway runs from US Highway 12 (US 12) near the Indiana state line in Porter Township north through Paw Paw and Allegan to end in the outskirts of Holland. The current northern end is near Interstate 196 (I-196) at an intersection with US 31/Business Loop I-196 (BL 196). In between, M-40 runs through mixed agricultural and forest lands and along lakes and rivers through Southwest Michigan. The trunkline was designated by July 1, 1919, along with the rest of the original state highway system along a route that is different that of that of the 21st century. South of Paw Paw, the original M-40 reached Niles and even the Indiana state line for a time. The northern end was extended in stages to Holland. The southern end was shifted in the 1970s, resulting in the modern routing. ## Route description M-40 starts at an intersection with US 12 in rural Cass County. Running north through farm fields, the highway rounds Bar Lake and into the community of Jones. The area around Jones has a few more lakes in a wooded setting. As the trunkline continues north, it passes back into farm lands. The road curves around to the northwest as it passes between Bogart Lake and Streeters Mill Pond near Dutch Settlement Road. M-40 follows Centre Street into Marcellus. When the highway meets the western end of M-216 in town, M-40 turns west along Main Street and runs out of town. The roadway returns to a northerly course, and later it curves northwesterly again near Cedar Lake near the Van Buren County line. Continuing north, the trunkline passes through mixed agricultural and wood lands into the community of Lawton. M-40 follows Main Street through town and exits on a northwestern track towards the village of Paw Paw. M-40 crosses over I-94 and turns north into town running along Maple Lake. The highway crosses the narrow isthmus between the larger Maple Lake and the smaller Ackley Lake, passing through some small residential subdivisions as it leaves Paw Paw. Small farms dot the landscape as M-40 crosses M-43 in a rural area of the county on the way to Gobles. It is in this small city that the road crosses the Kal-Haven Trail State Park, a linear park that follows the former Kalamazoo and South Haven Railroad line. The rail line was converted into a rail trail and allows users to bike, hike or snowmobile between Kalamazoo and South Haven. M-40 crosses into Allegan County near Base Line Lake. The highway follows Jenner Street along some curves near the banks of the Kalamazoo River as the trunkline enters the south side of Allegan. M-40 meets M-89, and the two highways run concurrently into downtown together on Cedar Street. At the intersection with Cutler Street, M-40/M-89 meets the western end of M-222 and M-40/M-89 turns west onto Cutler Street. The street name changes to Western Avenue as M-40/M-89 curves north and northwest, crossing the Kalamazoo River and leaving town. North of Lake Allegan, M-89 separates and runs west toward Fennville, and M-40 extends to Hamilton, crossing the Rabbit River. The highway runs through more farms and approaches the outskirts of Holland. The trunkline crosses over I-196 and follows Lincoln Road through an industrial area on the southeast side of town. At 48th Street, the highway turns west until meeting Lincoln Avenue. There, M-40 turns north for several blocks before ending at the intersection with BL I-196/US 31. ## History When M-40 was created around by July 1, 1919, it originally ran from Niles to Dowagiac and Decatur roughly along the current path of M-51. Then it traveled to the northeast where it entered Paw Paw and continued north to Allegan. M-40 is shown on a commercial 1921 map extending south of Niles to the Indiana state line, the segment used for the routing of US 31 starting in 1926, but not shown extending to Allegan. A section of the highway was realigned in the same time period near Paw Paw; after the change, M-40 followed the contemporary US 12 instead of Paw Paw Road. A rerouting of M-89 in 1927 shifted it to run from Allegan southeast to Plainwell instead of east to Martin; M-40 replaced M-89 on the Allegan–Martin roadway. In 1929, the routing from Allegan to Martin was removed and renumbered M-118, and M-40 was extended to the north out of Allegan along M-89 and its modern routing to a new terminus in Holland ending at US 31. The last segment of unpaved highway was paved in late 1945 or early 1946. This segment was near Dunningville in central Allegan County. In late 1960 or early 1961, when the I-94 freeway was completed in Van Buren County, M-40 moved to the new freeway for four miles (6.4 km), between present day exits 56 and 60, and the former route along old US 12 was returned to local control. In late 1971, all of M-40 south of I-94 was reassigned the designation M-51 while M-40 was shifted to the east to take over the routing of the contemporary M-119 between Paw Paw and its intersection with US 12 in Porter Township near Mottville; the change was made in order to give M-40 "north-south continuity" and to remove M-40 markers from I-94. In 1994, the northern terminus was scaled back from the US 31 business loop to its present terminus at US 31 on the southeast side of Holland. Local officials in Allegan have proposed creation of a truck route around the town. Concerned about the traffic and noise, residents have formed the Citizens for a Safer Community. They cite reports that show that the accident rates in town are higher than the statewide average. The group and local officials are proposing using 24th Street, 118th Avenue and Babylon Road for truck traffic. MDOT would require permits to erect the signs needed for the truck route. The department has indicated that the bypass would not be a state highway. MDOT will not take ownership of the roads needed for the truck route, but overall the department is supportive of the city's efforts to make the downtown area more pedestrian friendly. ## Major intersections ## See also

Can I Get It

2021 song by Adele

"Can I Get It" is a song by English singer Adele from her fourth studio album 30 (2021), written with Swedish producers Max Martin and Shellback. The song became available as the album's sixth track on 19 November 2021, when it was released by Columbia Records. A pop song with pop rock and country pop influences, "Can I Get It" has acoustic guitar, drum, and horn instrumentation and a whistled hook. The song is about moving on from a breakup and explores Adele's search for true love and the thrilling and wondrous parts of a new relationship. "Can I Get It" received mixed reviews from music critics, who were generally positive about its acoustic portion and lyrics, but highly criticised its whistled hook. They thought the song's brazen pop production catered to the tastes of mainstream radio, which made it an outlier on 30, and compared it to Flo Rida's single "Whistle" (2012). It reached the top 20 in Sweden, Canada, Switzerland, Australia, Finland, and Norway and entered the top 40 in some other countries. ## Background and chart performance Adele began working on her fourth studio album by 2018. She filed for divorce from her husband Simon Konecki in September 2019, which inspired the album. After experiencing anxiety, Adele undertook therapy sessions and mended her estranged relationship with her father. Single again for the first time in almost ten years, she sought a serious relationship in Los Angeles but struggled to find one. Adele said, "I lasted five seconds [dating there ...], everyone is someone or everyone wants to be someone." She had regular conversations with her son, which inspired her return to the studio and the album was developed as a body of work that would explain to her son why she left his father. Adele co-wrote the song "Can I Get It" with Swedish record producers Max Martin and Shellback, who had produced her 2016 Mainstream Top 40 number-one single "Send My Love (To Your New Lover)". "Can I Get It" is about wanting to be in a committed relationship instead of one centred around casual sex. She released "Easy on Me" as the lead single from the album, entitled 30, on 14 October 2021. Adele announced the album's tracklist, which included "Can I Get It" as the sixth track, on 1 November 2021. It became available for digital download on 30, which was released on 19 November. In the United Kingdom, "Can I Get It" debuted at number 7 on the Official Audio Streaming Chart. The song peaked at number 26 on the US Billboard Hot 100 issued for 4 December 2021. It charted at number 11 on the Canadian Hot 100. "Can I Get It" debuted at number 15 in Australia. The song peaked at number 39 in New Zealand. Elsewhere, it charted at number 9 in Sweden, number 13 on the Billboard Global 200, number 14 in Switzerland, number 16 in Finland, number 19 in Norway, number 25 in Denmark, number 32 in Portugal, number 40 in Austria, number 71 in France, and number 94 in Spain. ## Composition "Can I Get It" is three minutes and 30 seconds long. Martin and Shellback produced and programmed the song, which was recorded at MXM Studios, House Mouse Studios, and Kallbacken Studios in Sweden, MXM Studios in Los Angeles, and Eastcote Studios in London. Martin played piano and keyboards; Shellback played drums, bass, guitar, percussion, and keyboards and provided the whistle and stomps; Adele assisted him with handclaps. Randy Merrill mastered it at Sterling Sound Studios in New York City; Serban Ghenea and John Hanes mixed it at MixStar Studios in Virginia Beach, Virginia; and Lasse Mårtén, Michael Ilbert, and Sam Holland engineered it. "Can I Get It" is a pop song, with influences of pop rock and country pop. The song has a kitchen sink production, which incorporates "acoustic guitar breakdowns, slickly produced drum loops, [...] and horns" according to Exclaim!'s Kyle Mullin. It includes a three-chord riff and Martin and Shellback provide a 2010s music-influenced whistle for its hook. This inclusion was likened to Flo Rida's single "Whistle" (2012), and Lady Gaga's song "Why Did You Do That?" (2018). The Los Angeles Times's Mikael Wood and Variety's Chris Willman likened the "boot-scooting acoustic groove" and chorus guitar strums of "Can I Get It" to George Michael's single "Faith" (1987). Adele moans during the song's chorus; writing for Slant Magazine, Eric Mason stated that its spirited percussion instrumentation and her hushed moans construct a sultry atmosphere but get interrupted by its "discordantly chirpy whistle drop". Ilana Kaplan of Consequence described it as a "'70s rock-inspired track" and David Cobbald of The Line of Best Fit called it an "American-inspired, stomping rodeo of a song". "Can I Get It" has lyrics about moving on from a breakup. Adele returns to dating and tries to be more vulnerable with a new partner: "I'm counting on you/to put the pieces of me back together". The song is about searching for a true romantic relationship, refusing to settle for a hookup. It explores the thrilling and wondrous parts of a romantic relationship. The lyrics of "Can I Get It" avow and assure an extremely devoted love that borders on desperation and subservience. She expresses optimism in the song and counts on this new affair to "set [her] free". Adele pauses mid-sentence while singing its chorus's lyric "Let me just come and get it". ## Critical reception "Can I Get It" received mixed reviews from music critics, who thought it strayed from the rest of 30, which consisted mostly of emotional ballads that seek Adele's identity outside of romantic relationships. MusicOMH's Graeme Marsh thought the song's optimism and whistled portion made it sound misplaced. Peter Piatkowski of PopMatters stated that its brazen pop production felt "a bit shocking, almost disrespectful, and discordant" in the context of the album but praised its "earworm" hook and infectious chorus and favourably compared it to Adele's 2010 single "Rolling in the Deep". Writing for DIY, Emma Swann viewed "Can I Get It" as "easily Adele's most conventionally 'pop' moment to date" and added that though its production defies her signature ballads, it also projects more character. The A.V. Club's Gabrielle Sanchez wrote that the song constituted the "most pop-oriented and straightforward" segment of 30, along with "Oh My God", but criticised its whistling as "a hollow carry-over from 2010s radio pop". Maura Johnston of Entertainment Weekly opined that it was one of "a few grand pop moments" on the album and noted that its carefree production complements its lyrics. Writing for Billboard, Jason Lipshutz ranked "Can I Get It" as the second-best song on 30; he believed it succeeded on all levels and could outdo the radio success of "Easy on Me". NME's El Hunt thought the acoustic part of "Can I Get It" was bright and intriguing but derailed by its whistled hook. Cobbald praised the harmonies in its chorus but derided it as a "2013 Kesha B-side, or something like 'Whistle' by Flo Rida"; he believed it did not attain what its writers intended. Writing for The Independent, Annabel Nugent described the "stomp-and-clap hook" of "Can I Get It" as "most unsettling" and thought Martin and Shellback left more of a mark on it than "Send My Love (To Your New Lover)". Mapes identified the whistling as a "corny '10s pop trend" and thought it was crafted with pop and country radio in mind. Willman named the song as the "most obvious booster-shot-bop" on 30 and praised it as "Frankenstein-ian pop confection" but questioned if its different parts meshed well. Wood opined that it lived up to its title. Piatkowski thought the vulnerability and honest depiction of love in the lyrics of "Can I Get It" showcased "the sting and candor of Adele at her most honest". Kaplan stated that she waded into "more sensual territory" in the song, and Sanchez said it "harnesses a sensuality not often heard in Adele's work". The latter dismissed it as less interesting than the rest of the album and opined that the raw and moving lyricism on other tracks renders it a "mere blip in the grandeur of the rest of the album". Hunt thought that while the rest of 30's lyrics "stick to safer territory", Adele's pause in the chorus of "Can I Get It" is more frisky. ## Credits and personnel Credits are adapted from the liner notes of 30. - Max Martin – producer, songwriter, piano, programming, keyboards - Shellback – producer, songwriter, drums, bass, guitar, percussion, programming, whistle, keyboards, stomps, handclaps - Adele – songwriter, stomps, handclaps - Randy Merrill – mastering - Serban Ghenea – mixing - John Hanes – mixing - Lasse Mårtén – engineering - Michael Ilbert – engineering - Sam Holland – engineering ## Charts ## Certifications

The Now Now

2018 studio album by Gorillaz

The Now Now is the sixth studio album recorded by the British virtual band Gorillaz, released on 29 June 2018 via Parlophone and Warner Bros. Records. Recording for the album began in late 2017 – according to Gorillaz co-creator Damon Albarn, it was recorded quickly so the band would have new material to play at future concerts. The album spawned six singles, including "Humility" (the lead single), "Hollywood" and "Tranz". The Now Now debuted at number four on the Billboard 200 and at number five on the UK Albums Chart. It received generally positive reviews from critics, who praised the album's minimalist sound and lyrical content – however, some reviewers criticised its perceived lack of ambition and focus. ## Background and recording Following the release of their 2017 album Humanz, the co-creator of Gorillaz, Damon Albarn, had hinted at the possibility of a new Gorillaz album arriving sooner than expected, and said he enjoyed recording and debuting new music while on tour. He compared the spontaneous nature of this process to their 2010 album The Fall and wanted to make another record that would feel similar but more complete in comparison; he said, "if we're going to do more with Gorillaz we don't want to wait seven years because ... we're getting on a bit now". He later confirmed Gorillaz were working on another album that was scheduled for release in 2018. New songs from the album were performed during the Humanz Tour; Gorillaz debuted "Idaho" during a September 2017 concert in Seattle. In March 2018, during a concert in Santiago, the band debuted "Hollywood", which features Jamie Principle and Snoop Dogg. At this concert, Albarn stated the album had recently been finished and would soon be released. That May, a series of posters that contained phrases such as "G is the Magic Number" and "Save Us from Him" – as well as a URL that pointed to a teaser for the album that revealed its title and release date – were found at the music festival All Points East. The website included a short excerpt from a new song that was later released as "Lake Zurich". On 28 May, the day after the festival ended, Emma de Caunes, the wife of Gorillaz co-creator Jamie Hewlett, confirmed the album's release via Instagram. Recording began during the North American leg of the Humanz Tour in late 2017, but the majority of the album was recorded in February 2018 at Studio 13 in London. In a Radio X interview, Albarn said the album was produced within a short time so the band would have new material to play at upcoming festivals. As a byproduct of the album's expedited production, The Now Now includes fewer guest collaborators than previous Gorillaz records. Albarn credited producer James Ford for extensively contributing to the album's lyrical cohesion, saying; "If this record makes any more sense, it's entirely down to him, not me". ## Music and lyrics According to Stephen Thomas Erlewine of AllMusic, The Now Now includes elements of 1980s new wave and "yacht soul", which suggest the influence of disco and old-school hip-hop in Albarn's songwriting. Clash magazine described its songs as "slick, mutant funk", while Drowned in Sound noted a "breezy synth-pop style" that it compared with Gorillaz' earlier album Plastic Beach. NME's Thomas Smith called Albarn's lyrics "more introspective" as a result of "[moving] away" from the "bad influences" of 2017's Humanz. Pitchfork described the album as "daydream funk, playful psych-pop, and up-scale disco". Corbin Reid of Uproxx said, "Stuttering synth melodies lock into and swirl around an impressive collection of different and varying drum patterns. The music doesn't knock you down as much as it washes over you like a warm, comforting wave." He also compared it to the music of Tame Impala, noting it is "maybe less psychedelic in execution and more sepia-tinged in feeling". Lily Moayeri from Under the Radar said many of the lyrics are "set in or devoted to the city of Los Angeles", adding "The Now Now gives off the impression of a tour diary". Finn from DIY called the album "A more spaced-out affair, stripped of its star-studded collaborations and bathed in the apparent apathy of the modern age". ## Release and promotion The Now Now was officially announced on 30 May 2018. The following day, a North American seven-date tour to promote the album beginning in October, which was part of The Now Now Tour, was announced. On 24 June, Gorillaz performed The Now Now live at the Boiler Room in Tokyo, Japan, streaming it live on YouTube. When songs from the album – excluding "Humility" and "Tranz", both of which had music videos – were released, visualisers for them were uploaded to YouTube. ### Singles On 31 May 2018, the songs "Humility", which debuted via Zane Lowe's Beats 1 radio program, and "Lake Zurich", which peaked at 35 on the US Hot Rock Songs chart, were released as singles. "Humility" had been announced the previous day; it was released with a music video, in which the fictional lead singer of Gorillaz, 2-D is seen roller-skating around Venice Beach. "Humility" peaked at 81 on the UK Singles Chart, at 85 on the US Billboard Hot 100 and at number 7 on the US Hot Rock Songs chart. On 7 June, the album's third single "Sorcererz" was released. The song was originally premiered during Gorillaz's headlining set at Rock im Park. It peaked at 36 on the US Hot Rock Songs chart. On 14 June, the fourth single, "Fire Flies", was released; it peaked at 32 on the US Hot Rock Songs chart. On 21 June, the fifth single "Hollywood" was released. The song was first heard at a concert in Santiago, Chile. Before the song began, Albarn said to the crowd, "If you go tell anyone that we're putting out a new album very soon, I'll deny it, cause I didn't say that. Alright?". "Hollywood" peaked at 26 on the US Hot Rock Songs chart. On 14 September, the sixth single "Tranz" was released with a music video, which, according to Sam Moore of NME, "depicts the cartoon version of the band's first-ever 'live performance' music video". The song peaked at 16 on the US Hot Rock Songs chart. ## Reception ### Critical reception The Now Now received generally positive reviews from music critics. Review aggregator website Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, assigned the album an average score of 73, based on 28 reviews, indicating "generally favorable reviews". The album, which is a comparably stripped-down affair, was praised for its lyrical and musical simplicity. In his review, NME's Thomas Smith called it a "trim and spritely listen". According to Rolling Stone's Will Hermes, the simplistic approach results in "the band's most coherent LP to date". Many reviewers compared The Now Now with the band's previous two records. Favourably commenting on the new-found coherence reminiscent of The Fall, Drowned in Sound's Duncan Conrad noted the "radically shortened guest list" and the "written-on-the-road simplicity" that are more akin to the band's 2010 fan club giveaway than the "over-stuffed" Humanz. NME's Smith lauded the album as more concise and less "generic" than its "bloated" immediate predecessor. DIY's Rachel Finn said the album feels "easy to just sit back and listen". Most critics also praised the album's energy and optimism. According to NME, The Now Now consists of "11 pop tracks that zip with energy, passion and an abundance of ideas", Rolling Stone called it "optimistic by [Albarn's] usual standards". Among others, Clash's Wilf Skinner called it "a jubilant and solidly varied ... album". Some critics felt that there was a lack of ambition on the album. Rolling Stone said there is a distinct lack of "the sparks that come from the usual Gorillaz mess of ideas and personalities". Drowned in Sound called it a "disappointingly minor album, low on standout songs and big ideas", and lacking the band's trademark experimentation. Critics were also divided on the album's narrative. While Drowned in Sound's Conrad said the album "does very little to advance the mythology [of the band]" and thus "lacks a sense of purpose", NME said its narrative "works in tandem with their current storyline" to the band's "highly entertaining mythology". GQ in Russia ranked The Now Now as the 18th best album of 2018. ### Commercial reception The Now Now debuted at number five on the UK Albums Chart, becoming Gorillaz' sixth album to reach the chart's top ten. In the United States, The Now Now debuted at number four on the US Billboard 200 with sales of 63,000 album-equivalent units, of which 52,000 were pure album sales, becoming Gorillaz' fifth top-ten album in the United States. ## Track listing All tracks are written by Damon Albarn, alongside any featured artists, and produced by Gorillaz, James Ford, and Remi Kabaka. ## Personnel Credits adapted from the liner notes. Gorillaz - Damon Albarn – vocals, instrumentation, production (all tracks) - Jamie Hewlett – artwork, design, video direction - Junior Dan – bass (track 5) - Stephen Sedgwick – mixing, engineering, recording - Karl Vanden Bossche – percussion (track 3) - Remi Kabaka Jr. – production, percussion, drum programming (track 7) - John Davis – mastering - Samuel Egglenton – engineering assistance - James Ford – production (all tracks), drums, bass guitar (tracks 1–3, 5, 8–11), synthesiser (tracks 1, 4–7) Additional musicians - George Benson – guitar (track 1) - Snoop Dogg – vocals (track 3) - Jamie Principle – vocals (track 3) - Abra – additional vocals (track 5) - Graham Coxon – additional guitar (track 8) Additional technical - Mark DeCozio – additional engineering (track 1) - Stuart Lowbridge – live music co-ordination Additional artwork - Stars Redmond – assistance - Siobhan Battye – assistance ## Charts ### Weekly charts ### Year-end charts ## Certifications

Greece in the Eurovision Song Contest 2012

Greece participated in the Eurovision Song Contest 2012, held in Baku, Azerbaijan. Their selected song "Aphrodisiac" was written by Dimitri Stassos, Mikaela Stenström and Dajana Lööf, and was performed by Eleftheria Eleftheriou, who had previously attempted to represent Greece in the Eurovision Song Contest 2010. The entry was selected through the televised national final Ellinikós Telikós, organised by the country's public broadcasting service Hellenic Broadcasting Corporation (ERT) and held on 12 March 2012 at the River West shopping mall in Athens. Due to the debt crisis facing Greece at the time, the record label of the entry was expected to take on the costs of recording and producing the candidate songs. Universal Music Greece was the only label to accept these terms and put forth four competing acts for consideration. The winning act was selected using a combination of jury and televoting. Following the national final, Eleftheriou embarked on a promotional campaign visiting Turkey and the Netherlands. Greece was drawn to appear third in the first semi-final of the Eurovision Song Contest 2012, which was held on 22 May. There, the nation placed fourth with 116 points and qualified for the grand final, held four days later. Greece was randomly selected the 16th position at the grand final allocation draw, performing after and before . The entry received 64 points at the grand final from a combined jury and televote, finishing in 17th place. ## Background Prior to the 2012 contest, Greece had participated in the Eurovision Song Contest 32 times since their first entry in . To this point, the nation won the contest once, in 2005 with the song "My Number One" performed by Helena Paparizou, and placed third three times: in 2001 with the song "Die for You" performed by the duo Antique; in 2004 with "Shake It" performed by Sakis Rouvas; and in 2008 with "Secret Combination" performed by Kalomira. Following the introduction of semi-finals for the 2004 contest, Greece qualified for the grand final each year. Their least successful result was in when they placed 20th with the song "Mia krifi evaisthisia" by Thalassa, receiving only 12 points in total, all from Cyprus. Hellenic Broadcasting Corporation (ERT), broadcasts the event within Greece and organises the selection process for the nation's entry. In late November 2011, ERT's deputy public relations spokesperson Areti Kalesaki confirmed the country's participation in the Eurovision Song Contest 2012 citing the contest's popularity. She also stated that their budget for the event would be lowered significantly compared to previous years. ## Before Eurovision ### Ellinikós Telikós 2012 On 30 January 2012, the Greek national broadcaster ERT revealed that the national final Ellinikós Telikós 2012 (Greek: Ελληνικός Τελικός 2012) would select the Greek entry for the Eurovision Song Contest 2012. ERT reaffirmed Greece would be participating in the contest at the most minimal possible cost due to the Greek government-debt crisis affecting the country. To achieve this, the broadcaster took a different approach compared to previous years, seeking to share a majority of the costs of participation with a large record label that had international experience. Among the costs ERT sought for the label to cover were those of recording and production of the candidate songs, promotion including the production of the winner's promotional CD, wages for creative and artistic professionals and covering the trip and accommodations in Baku. The only label to accept the terms was Universal Music Greece, leading to an agreement between the broadcaster and the label to organize the selection process. The four competed songs competed in playback, with the winner decided by a 50/50 combination of public and jury voting. The jury consisted of Marina Lahana (radio producer and Head of ERA2), Andreas Pilarinos (conductor), Foteini Giannolatou (Head of Public Relations for ERT), Mihalis Tsaousopoulos (radio producer) and Tasos Trifonos (radio producer). Public voting was conducted through telephone or SMS, with 10,385 telephone votes and 14,172 SMS votes being cast during the show. All proceeds from the voting went to the charity organisations Kivotos Tou Kosmou (Arc of the world), Paidika Horia SOS (Children's villages SOS) and To Hamogelo Tou Paidiou (The smile of a child). #### Competing entries On 23 February 2012, ERT announced that four candidate entries would compete in Ellinikós Telikós 2012. Five days later, the competing songs, without revealing their performers and songwriters, were released through the ERT website and official Facebook and Twitter pages; the songs then began playing on Hellenic Radio stations on 1 March 2012. The running order draw for the competing entries took place on 4 March during a media event hosted by ERT and Universal Music Greece. The next day, preview videos of each song revealing their performers aired on ERT. The names of the four acts, all signed to Universal, were released on 5 March; they included Cassiopeia, Dora, Eleftheria Eleftheriou and Velvet Fire. Dora's "Baby I'm Yours" was written by the duo Hush Hush, which consisted of Franc, and Ilias Pantazopoulos, with lyrics by Nektarios Tyrakis. Tyrakis is best known for writing lyrics for Greece's 2004 entry "Shake It", as well as Belarus's 2005 entry "Love Me Tonight". Dora had previously tried to represent Greece in the Junior Eurovision Song Contest 2006 at age 14, but placed fourth in the national final. The band Cassiopeia's song "Killer Bee" was composed by Christos Dantis with lyrics by Leonidas Chatzaras. Dantis was best known for writing Greece's winning entry "My Number One" in 2005, as well as his participation in the 2007 Greek national final. Cassiopeia was formed shortly before the national final, and consisted of three women named Elena, Naya and Maria. The third entry Velvet Fire's song "No Parking" was written by George Samuelson and Leonidas Chantzaras. Velvet Fire was formed a few months prior to Ellinikós Telikós 2012 and consisted of George Alex and May Sokolai. The fourth and final competing entry, Eleftheriou's song "Aphrodisiac", was written by Dimitri Stassos, Mikaela Stenström and Dajana Lööf. Stassos had previously written Spain's 2009 Eurovision entry "La noche es para mí", while Eleftheriou had taken part in the second season of Greek talent show The X Factor. She had also tried to represent Greece in the Eurovision Song Contest 2010, but a week before song presentations her song was leaked, thus disqualifying her from the national final. #### Final Ellinikós Telikós 2012 took place on 12 March at the River West shopping mall in Athens, hosted by Maria Kozakou and Giorgos Frantzeskakis. The show was televised on both ET1 and ERT World as well as online on both the ERT and official Eurovision Song Contest websites. At the end of voting, Eleftheriou with "Aphrodisiac" was selected as the Greek entry for the Eurovision Song Contest 2012, having won both the public and jury vote. The show received a market share of 10.8% according to ABG Nielsen Hellas, and \#EurovisionGR was a worldwide trending topic on Twitter during its airing. In addition to the performances of the competing entries, the interval acts featured guest performances by Eurovision Song Contest 2012 entrants Sofi Marinova of , Ivi Adamou of and Anggun of . Singers Giorgos Sabanis, Christos P. and Greece's 2011 participant Loukas Yorkas were also present at the show. #### Reception Reactions to the national final were mostly negative, with many media personalities and viewers criticizing the choice of venue, poor production, lack of vision, poor hosts and use of playback vocals instead of live vocals. Many also complained that Eleftheriou's song and performance were reminiscent of past entrants Paparizou and Kalomoira. Despite the many complaints, others applauded the broadcaster's efforts to take part in the contest with a limited budget and its clever choice of using a shopping mall's natural setting as a backdrop as opposed to a dark studio as was the case the previous year for Ellinikós Telikós 2011. Former entrant Sakis Rouvas also commended the broadcaster for continuing on a tight budget and commented that the result of production should have been expected as it was "a sign of the times", referring to the Greek government-debt crisis. ### Promotion To promote the entry, Eleftheriou made several appearances across Europe, including a stop in Turkey, as well as in the Netherlands, where she participated in Eurovision in Concert at club Melkweg in Amsterdam on 21 April 2012. ## At Eurovision The Eurovision Song Contest 2012 took place at the Baku Crystal Hall in Baku, Azerbaijan. It consisted of two semi-finals held on 22 and 24 May, respectively, and the grand final on 26 May 2012. According to the Eurovision rules, all participating countries, except the host nation and the "Big Five", consisting of , , , and the , were required to qualify from one of the two semi-finals to compete for the grand final; the top 10 countries from the respective semi-finals would proceed to the final. On 25 January 2012, an allocation draw was held at the Buta Palace in Baku that placed each country into one of the two semi-finals; Greece was placed into the first half of the first semi-final, to be held on 22 May. Once all the competing songs for the Eurovision Song Contest 2012 had been released, the running order for the semi-finals was decided by another draw, which was held on 20 March. The nation was assigned to perform at position three, following and preceding . ### Performances Eleftheriou performed "Aphrodisiac" in the first semi-final on 22 May 2012, appearing third out of the 18 countries. The choreography used during the performance was different from the entry's initial performance at Ellinikós Telikós 2012. The two male back-up dancers were replaced by two women and more emphasis was placed on her movements when she sung the lyric "maniac". The performance saw Eleftheriou, her backing vocalists and dancers dressed casually, with the stage's LED screens set to light and dark blue tones with golden structures, including a large golden shell. The choreography for the performance was organized by Konstantinos Rigos, who also served in that role for Greece the previous year. At the end of voting, Greece placed fourth with 116 points, thus qualifying for the grand final. The public awarded Greece fifth place with 110 points and the jury awarded the nation third place with 103 points. During the winners press conference for the first semi-final qualifiers, Greece was drawn to compete 16th in the grand final. This placed the nation after the performance of and before that of . In the final, held on 26 May 2012, Greece placed 17th out of the 26 participants, scoring 64 points. The public awarded Greece ninth place with 89 points and the jury awarded the nation 18th place with 60 points. ### Voting Below is a breakdown of points awarded to Greece in the first semi-final and final of the Eurovision Song Contest 2012, as well as by the country in the semi-final and final, respectively. #### Points awarded to Greece #### Points awarded by Greece

Cancer pagurus

Species of crustacean

Cancer pagurus, commonly known as the edible crab or brown crab, is a species of crab found in the North Sea, North Atlantic Ocean, and perhaps the Mediterranean Sea. It is a robust crab of a reddish-brown colour, having an oval carapace with a characteristic "pie crust" edge and black tips to the claws. A mature adult may have a carapace width up to 25 centimetres (10 inches) and weigh up to 3 kilograms (6+1⁄2 pounds). C. pagurus is a nocturnal predator, targeting a range of molluscs and crustaceans. It is the subject of the largest crab fishery in Western Europe, centred on the coasts of the British Isles, with more than 60,000 tonnes caught annually. ## Description The carapace of C. pagurus adults is a reddish-brown colour, while in young specimens it is purple-brown. It occasionally bears white patches, and is shaped along the front edge into nine rounded lobes, resembling a pie crust. Males typically have a carapace 60 mm (2+1⁄4 in) long, and females 98 mm (3+3⁄4 in) long, although they may reach up to 150 mm (6 in) long in exceptional cases. Carapace width is typically 150 mm (6 in), or exceptionally up to 250 mm (9+3⁄4 in). A fold of the carapace extends ventrally to constitute a branchial chamber where the gills lie. The first pereiopod is modified into a strong cheliped (claw-bearing leg); the claw's fingers, the dactylus and propodus, are black at the tips. The other pereiopods are covered with rows of short stiff setae; the dactylus of each is black towards the tip, and ends in a sharp point. From the front, the antennae and antennules are visible. Beside these, the orbits are where the eyes are situated. The mouthparts comprise three pairs of maxillipeds, behind which are a pair of maxillae, a pair of maxillules, and finally the mandibles. ## Lifecycle Reproduction occurs in winter; the male stands over the female and forms a cage with his legs protecting her while she moults. Internal fertilisation takes place before the hardening of the new carapace, with the aid of two abdominal appendages (gonopods). After mating, the female retreats to a pit on the sea floor to lay her eggs. Between 250,000 and 3,000,000 fertilised eggs are held under the female's abdomen up to eight months until they hatch. The first developmental stage after hatching is a planktonic larva (1 mm) called the zoea that develops into a postlarva (megalopa), and finally a juvenile. The first juvenile stage is characterised by a well-developed abdomen, which in time becomes reduced in size and folded under the sternum. Juveniles settle to the sea floor in the intertidal zone, where they stay until they reach a carapace width of 60–70 mm (2+3⁄8–2+3⁄4 in), and then migrate to deeper water. The growth rate in males slows from an increase in carapace width of 10 mm per year before it is 8 years old, to 2 mm per year thereafter. Females grow at about half the rate of males, probably due to the energetic demands of egg laying. Sexual maturity is reached at a carapace width of 127 mm (5 in) in females, and 110 mm (4+3⁄8 in) in males. Longevity is typically 25–30 years, although exceptional individuals may live up to 100 years. ## Distribution and ecology C. pagurus is abundant throughout the northeast Atlantic as far as Norway in the north and North Africa in the south, on mixed coarse grounds, mud, and sand from the shallow sublittoral to depths around 100 m (300 ft; 50 fathoms). It is frequently found inhabiting cracks and holes in rocks, but occasionally also in open areas. Smaller specimens may be found under rocks in the littoral zone. Unconfirmed reports suggest that C. pagurus may also occur in the Mediterranean Sea and Black Sea. Adults of C. pagurus are nocturnal, hiding buried in the substrate during the day, but foraging at night up to 50 m (150 ft) from their hideouts. Their diet includes a variety of crustaceans (including the crabs Carcinus maenas and Pilumnus hirtellus, the porcelain crabs Porcellana platycheles and Pisidia longicornis, and the squat lobster Galathea squamifera) and molluscs (including the gastropods Nucella lapillus and Littorina littorea, and the bivalves Ensis, Mytilus edulis, Cerastoderma edule, Ostrea edulis, and Lutraria lutraria). It may stalk or ambush motile prey, and may dig large pits to reach buried molluscs. The main predator of C. pagurus is the octopus, which even attacks them inside the crab pots that fishermen use to trap them. ### Diseases Compared to other commercially important crab species, relatively little is known about diseases of C. pagurus. Its parasites include viruses, such as the white spot syndrome virus, various bacteria that cause dark lesions on the exoskeleton, and Hematodinium-like dinoflagellates that cause "pink crab disease". Other microscopic pathogens include fungi, microsporidians, paramyxeans, and ciliates. C. pagurus is also targeted by metazoan parasites, including trematodes and parasitic barnacles. A number of sessile animals occasionally settle as epibionts on the exoskeleton of C. pagurus, including barnacles, sea anemones, serpulid polychaetes such as Janua pagenstecheri, bryozoans, and saddle oysters. ## Fishery C. pagurus is heavily exploited commercially throughout its range, being the most commercially important crab species in Western Europe. The crabs are caught using crab pots (similar to lobster pots), also known as creels, which are placed offshore and baited. The catch of C. pagurus has increased steadily, rising from 26,000 tonnes in 1978 to 60,000 t in 2007, of which more than 70% was caught around the British Isles. The fishery is widely dispersed around the British and Irish coasts, and C. pagurus is thought to be overfished across much of this area. Most of the edible crabs caught by the British fleet are exported live for sale in France and Spain. A number of legal restrictions apply to the catching of C. pagurus. Catching "berried" crabs (females carrying eggs) is illegal, but since ovigerous females remain in pits dug in the sediment and do not feed, fishing pressure does not affect the supply of larvae. Minimum landing sizes (MLSs) for C. pagurus are set by both the European Union technical regulations and by the UK government. Different minimum sizes are employed in different geographical areas, to reflect differences in the crab's growth rate across its range. In particular, the "Cromer crab" fishery along the coasts of Suffolk, Norfolk and Lincolnshire is subject to an MLS of 115 mm (4+1⁄2 in), rather than the 140 mm (5+1⁄2 in) MLS in most of the species' range. An intermediate value of 130 mm (5+1⁄8 in) is used in the rest of the North Sea between the 56°N and the Essex–Kent border, and in the Irish Sea south of 55°N. Around Devon, Cornwall, and the Isles of Scilly, the MLS for males is different (160 mm or 6+1⁄4 in) from females (140 mm or 5+1⁄2 in). The Norwegian catch is 8,500 tons annually, compared to 20,000 tons in the United Kingdom, 13,000 tons in Ireland, 8,500 tons in France, and a total 45,000 tons globally. Recent studies have shown that edible crabs are negatively affected by electromagnetic fields emitted from sub-sea power cables around offshore wind farms. ## Cookery Around one-third of the weight of an adult edible crab is meat, of which one-third is white meat from the claws (see declawing of crabs), and two-thirds is white and brown meat from the body. As food, male edible crabs are referred to as cocks and females as hens. Cocks have more sweet white meat; hens have more rich brown meat. Dishes include (crab meat arranged in the cleaned shell, sometimes with decoration of other foodstuffs), soups such as bisque or bouillabaisse, pâtés, mousses, and hot soufflés. ## Taxonomy and systematics According to the rules of the International Code of Zoological Nomenclature, Cancer pagurus was first described by Carl Linnaeus in 1758, in the tenth edition of his Systema Naturae, which marks the starting point of zoological nomenclature. It was chosen to be the type species of the genus Cancer by Pierre André Latreille in 1810. The specific epithet is a Latin word, deriving from the Ancient Greek: πάγουρος (pagouros), which, alongside (karkinos), was used to refer to edible marine crabs; neither classical term can be confidently assigned to a particular species. Although the genus Cancer formerly included most crabs, it has since been restricted to eight species. Within that set of closely related species, the closest relative of C. pagurus is the Jonah crab, C. borealis, from the east coast of North America.

Hurricane Dog (1950)

Category 4 Atlantic hurricane

Hurricane Dog was the most intense hurricane in the 1950 Atlantic hurricane season. Prior to reanalysis by the Hurricane Research Division in 2014, it was considered one of the strongest Atlantic hurricanes on record, equivalent to Category 5 status on the modern Saffir-Simpson scale, with winds of 185 miles per hour (298 km/h). The fourth named storm of the season, Dog developed on August 30 to the east of Antigua; after passing through the northern Lesser Antilles, it turned to the north and intensified into a Category 4 hurricane. Dog reached its peak intensity with winds of 145 mph (230 km/h) over the open Atlantic, and after weakening it passed within 200 miles (320 km) of Cape Cod, Massachusetts. The storm became extratropical on September 12. Hurricane Dog caused extensive damage to the Leeward Islands, and was considered the most severe hurricane on record in Antigua. Many buildings were destroyed or severely damaged on the island, with thousands left homeless just weeks after Hurricane Baker caused serious damage there. In the United States, the hurricane caused moderate coastal damage, including damage to several boats, and resulted in 11 offshore drownings. Strong winds caused widespread power outages across southeastern New England. There were twelve people missing and assumed dead offshore Nova Scotia. Damage across its path totaled about \$3 million (1950 USD\$, 2009 USD). ## Meteorological history The exact origins of Hurricane Dog are obscure, due to sparse ship and land observations over the eastern Atlantic Ocean; the storm may have originated from an easterly wave on August 24 near the Cape Verde islands, but there are no observations to support such development. Ships first encountered the storm on August 30, when the SS Sibrodin reported gale-force winds and an area of low pressure about 320 miles (510 km) east-southeast of Antigua. The storm is first documented as a hurricane with winds of 90 mph (145 km/h) late on August 30. With high pressures to its northeast, the storm tracked west-northwestward and rapidly intensified: on August 31 it attained major hurricane status, reaching winds of 130 mph (209 km/h)—the first peak intensity in its life—before entering the Leeward Islands. Early on September 1, Hurricane Dog passed just north of Antigua as the equivalent of a Category 4 hurricane on the Saffir-Simpson hurricane wind scale. A weather station on Antigua reported a pressure of 28.73 inches of mercury (973 mb), though the eye of the hurricane missed the station. After bypassing Antigua, Hurricane Dog weakened slightly, based on reports by reconnaissance aircraft; the cyclone made its first and only landfall over Anguilla with winds of 120 to 125 mph (193 to 201 km/h). The cyclone produced hurricane-force winds over Antigua and the nearby island of Saint Martin, which reported a pressure of 978.7 mb (28.90 inHg). Early on September 2, Hurricane Dog came under weak steering currents, causing it to drift northward. The cyclone weakened even further: aircraft recorded a central pressure of 962 mb (28.4 inHg), and maximum sustained winds diminished to 115 mph (185 km/h). The storm mostly maintained its intensity for two more days, but on September 4 it began to re-intensify as it turned northwestward. On September 5, Hurricane Dog regained Category 4 intensity about 335 miles (540 km) north of the eastern tip of the Dominican Republic. The hurricane strengthened further after turning to the north, and Hurricane Dog reached its second and strongest peak intensity of 145 mph (233 km/h). On September 6, Hurricane Hunters visually estimated peak winds of 185 mph (300 km/h) about 450 miles (720 km) south-southwest of Bermuda; however, being early in the period of hurricane reconnaissance, such wind speeds—derived from observations of the sea surface—were subjective and sometimes unreliable. In 2014, a reanalysis of HURDAT by the Hurricane Research Division found that the peak winds in Hurricane Dog were more likely 145 mph (230 km/h), marking a reduction in the intensity of Hurricane Dog from Category 5 to Category 4. Nevertheless, while now estimated to have been less intense than assessed operationally in 1950, Dog was a formidable hurricane while over the western Atlantic, producing wave heights of over 100 feet (30 m). Hurricane Dog maintained its peak intensity for about 12 hours. On September 7, the cyclone attained a central pressure of 948 mbar (27.99 inHg), which was the lowest pressure in association with the hurricane. A building ridge of high pressure to its north caused it to decelerate and weaken steadily for unknown reasons as it turned to the west; by September 9, the intensity had decreased to 75 mph (121 km/h). On September 10, Hurricane Dog began turning to the northwest, and a day later it headed north and then northeast. Late that day, it briefly re-intensified slightly to 100 mph (161 km/h) before transitioning into an extratropical cyclone with hurricane-force winds. The former hurricane passed within 200 miles (320 km) of Cape Cod on September 12. Shortly afterwards, the extratropical remnant turned to the east, losing hurricane winds for several days beginning on September 13. The system eventually turned to the northeast on September 15, and a day later it regained hurricane-force winds as a vigorous extratropical cyclone. Early on September 17, the cyclone struck Scotland with winds of 75 mph (121 km/h), but the system persisted until finally losing its identity north of Scotland on September 18. ## Preparations In the United States, the threat of the hurricane prompted the National Weather Bureau to issue warnings of gale-force winds, high tides, and rough surf from the Outer Banks of North Carolina to Maine. At least 17 naval ships were moved in preparation for the hurricane. Rhode Island state police officers warned homeowners near the coast to be ready to evacuate, if necessary. There, officials also closed several beaches and canceled ferry travel along the state's southern waterways. On the day of the hurricane's closest approach to the United States, the National Weather Bureau issued storm warnings from Cape May, New Jersey, to Eastport, Maine. ## Impact Passing through the Lesser Antilles, Hurricane Dog produced a storm surge of 8 feet (2.4 m) in Antigua. Winds on Antigua and Barbuda were estimated at 130 mph (210 km/h), with a gust of 144 mph (232 km/h) recorded at St. John's, Antigua and Barbuda. On Antigua, where hurricane-force winds were reported for six hours, residents considered it the most severe hurricane in history. Hurricane Dog left thousands homeless on Antigua, just weeks after Hurricane Baker caused severe damage on the island. Damage throughout the Lesser Antilles totaled \$1 million (1950 USD\$, 2009 USD), primarily on Antigua and Barbuda, and included many damaged or destroyed homes, ruined crops, blocked roads from washouts or fallen trees, and power outages across the islands. The hurricane resulted in several shipwrecks; two people drowned when their small boat capsized. The hurricane sank a boat on the island of Saint-Barthélemy, where damage amounted to \$70,000 (1950 USD\$, 2009 USD). Heavy rain fell in the Mid-Atlantic States, leading to flash floods in some locations. In Bel Air, Maryland, a car drove into the swollen Little Gunpowder Falls; three people in the car drowned and a fourth was injured. A further two people drowned in Lexington, Virginia. Though newspaper sources attributed the heavy rainfall to Hurricane Dog, this was not confirmed. The hurricane deposited light to moderate rainfall across southeastern Massachusetts, ranging from around 1 inch (25 mm) to about 4 to 5 inches (100 to 125 mm) near Nantucket. In Provincetown, a car hit a woman—neither the driver nor the victim was able to see due to the rains. A man in Falmouth was paralyzed from the waist downwards after coming into contact with a wet tree limb next to a downed power line. The hurricane produced high tides and rough surf along the East Coast of the United States, with coastal flooding reported along some beaches in Rhode Island. The hurricane capsized or damaged several boats along the coastline, including two large vessels in Nantucket. In Marblehead, Massachusetts, the surf grounded at least 15 vessels from the harbor onto a coastal causeway. Near Cape Cod, damage to fishermen's assets totaled \$150,000 (1950 USD\$, 2009 USD). Tides along Nantucket were reported at the highest levels since the 1944 Great Atlantic Hurricane. Hurricane Dog produced powerful wind gusts along coastal areas of New England, which caused widespread power outages, including a loss of power to 15 towns on Cape Cod, to hundreds of residences on Nantucket, and to several other locations in the area. Additionally, winds from the hurricane destroyed two small barns and uprooted a few trees, some of which blocked roads. Overall damage was fairly light, totaling about \$2 million (1950 USD\$, 2009 USD)—a much lower total than would have been expected if the hurricane had made landfall. In all, 12 people died in New England as a result of the hurricane. Two ships went missing during the storm along the coast of Nova Scotia, with a crew of six people each; their status is unknown, and they are considered storm fatalities. ## Records, naming, and aftermath Before scientific reexamination reduced its winds, Hurricane Dog was listed as the second-strongest Atlantic hurricane on record, tied with Hurricanes Gilbert in 1988 and Wilma in 2005; following reanalysis in 2012, the 1935 Labor Day hurricane also met this distinction. Only Hurricanes Camille in 1969 and Allen in 1980 were stronger, peaking at 190 mph (306 km/h). (However, Camille was later found to have been somewhat weaker than originally estimated, with top winds of 175 mph (282 km/h).) During the 1950, 1951, and 1952 seasons, Atlantic hurricanes were named using the Joint Army/Navy Phonetic Alphabet. However, Hurricane Dog was referred to as "the great hurricane in the central Atlantic" in newspaper reports, and its name was seldom used. Operationally, hurricanes were not referred to by name until 1952. A relief fund was organized in the aftermath of the hurricane by The Daily Gleaner, a newspaper from Kingston, Jamaica. The newspaper invited its readers to help assist "their suffering fellow-West Indians in the island of Antigua." Four days after the hurricane, the fund totaled £171,000 (1950 GBP, \$ 2009 USD). One Antigua official stated the country "would appreciate voluntary assistance from outside, especially food and clothing". Relief aid was also sent from the United States to the affected islands. ## See also - List of Atlantic hurricanes

New Jersey Route 64

State highway in Mercer County, New Jersey, US

Route 64 is a 0.32-mile-long (0.51 km) state highway in the U.S. state of New Jersey. It is a state-maintained bridge over Amtrak's Northeast Corridor line in West Windsor. Route 64 begins at an intersection with County Route 526 and County Route 571 in West Windsor. It heads along the bridge to an intersection with County Route 615, where Route 64 ends. County Routes 526 and 571, which are concurrent with Route 64, continues to Hightstown. Route 64 was designated originally as an alignment of Route 31A, a spur off of State Highway Route 31 (currently U.S. Route 206) from Princeton eastward to Hightstown, where it met State Highway Route 33. The state planned on turning the alignment into a full-fledged expressway for several decades, including constructing the alignment that Route 64 currently uses in 1939. The route was amended in 1941, and was renumbered from Route 31A to Route 64 in the 1953 renumbering. Route 64 was proposed to become part of the Princeton–Hightstown Bypass (later designated Route 92), but completion never occurred. Currently, the route remains the bridge over the Northeast Corridor. However, it is not currently planned that Route 64 will receive an extension of sorts from the proposed Penns Neck Bypass to U.S. Route 1, a proposed realignment of County Routes 526 and 571. ## Route description Route 64 begins at an intersection with County Route 526, County Route 571, and Mercer County Route 615 in the community of West Windsor. From this point, County Routes 526 and 571 continue along the right-of-way towards U.S. Route 130. The route heads north and crosses over Amtrak's Northeast Corridor before it passes to the north of a local bus depot. Route 64 continues westward for a short distance, crossing through a local woodland and behind several local homes. The route makes a gradual curve to the west off the railroad bridge and passes behind a couple of homes before heading to the south slightly at an intersection. Route 64 reaches its northern terminus and County Route 526 and County Route 571 make a right turn to head northwest toward U.S. Route 1 and Princeton. ## History ### Route 31A and the original freeway In the late-1920s, the state proposed a bypass along the alignment. In 1938, the New Jersey State Highway Department and New Jersey General Assembly put forth a proposal detailing that a highway from State Highway Route 31 (co-signed with U.S. Route 206) in the city of Princeton eastward through Mercer County onto current-day County Route 571. From there, it would follow an alignment of highway to the intersection with State Highway Route 33 in the community of Hightstown. The original proposal for the highway was to turn the road into a limited-access freeway along its entirety. The route was designated as State Highway Route 31A, a suffixed spur of State Highway Route 31 that year. A portion of the highway was constructed in 1939, when a bridge over the Pennsylvania Railroad was constructed from Washington Road's former alignment to the current intersection with Route 615. This new, 104.00-foot-long (31.70 m) bridge replaced the at-grade crossing on Washington Road, which is now a dead-end. The state highway law was amended just three years later, with the freeway option removed and the extensions remaining. The new bridge remained in place along Route 31A, however, no new portions of the freeway were constructed in terms of creating the Route 31A Freeway, as proposed in 1938. In 1950, then-governor of New Jersey, Alfred E. Driscoll, cited the need for the expressway as an important truck and passenger car highway from Trenton to the Jersey Shore. Route 31A itself was decommissioned in the 1953 New Jersey state highway renumbering, and replaced by the designation of Route 64. The route was truncated from both ends toward Princeton and Hightstown, leaving just the bridge in West Windsor. Route 31A remained in the state highway statutes for several decades after decommissioning, with a bill in 1991 being proposed. The bill passed, and Route 31A was stripped from the statutes on January 18, 1992. ### Route 92 and future changes to CR 571 Route 64, after designation in 1953, remained a short bridge along the highway. However, the need for an expressway from Trenton to the Jersey Shore remained, and in the late 1950s, the State Highway Department brought about plans for the Princeton–Hightstown Bypass, a four-lane freeway that would head for 14 miles (23 km) from U.S. Route 206 in Montgomery Township to New Jersey Route 33 in Hightstown. In the length, the freeway was to interchange with U.S. Route 1, U.S. Route 130 and New Jersey Route 27. The route was re-designated as Route 92, and remained a high priority project for several decades. Even after changes in alignment, Route 64 was still an alternative. However, Route 92 was shelved on December 1, 2006 in favor of widening the New Jersey Turnpike mainline, and only New Jersey Route 133 was constructed for the proposal. As part of the proposed Penns Neck Bypass on U.S. Route 1, the New Jersey Department of Transportation plans on realigning County Route 571 and Route 526 from the western terminus of Route 64 to a northerly route to Route 1. Although Route 571 and Route 526 are proposed to be realigned onto the new alignment, there is no designated change proposed for Route 64. On the contrary to this, one state figure shows Route 64 running along Washington Road, where the two county routes currently run. ## Major intersections ## See also - New Jersey Route 13 - New Jersey Route 162

Venues of the 2016 Winter Youth Olympics

Venues of the 2016 Winter Youth Olympics

The 2016 Winter Youth Olympics in and around Lillehammer, Norway, between 12 February and 21 February 2016. Nine competition and twelve non-competition venues are to be used; all except the Youth Olympic Village in Lillehammer and a training ice rink being are existing venues. All the competition venues and some of the non-competition venues were built ahead of the 1994 Winter Olympics. The games be held in four municipalities: Lillehammer, Hamar, Gjøvik and Øyer. Lillehammer has five competition venues, Birkebeineren Ski Stadium, Kristins Hall, Kanthaugen Freestyle Arena, Lillehammer Olympic Bobsleigh and Luge Track and the Lysgårdsbakken ski jumping hill. In addition, the Olympic Village, the ceremonies stadium Stampesletta, the media center and various cultural venues, such as Lillehammer Art Museum and Maihaugen, are located in Lillehammer. Two skating halls, Hamar Olympic Amphitheatre and Vikingskipet, are located in Hamar, along with a hotel used as a sub-site Olympic Village. Alpine skiing take place at Hafjell in Øyer and short-track speed skating take place at Gjøvik Olympic Cavern Hall. ## Background Originally proposed in 1981, Lillehammer's bid for the 1992 Winter Olympics was unsuccessful and lost to Albertville, France. Lillehammer then made a new bid for the 1994 Olympics, which it won on 15 September 1988. Venue construction ran from spring 1990 to December 1993, with all the competition and most of the non-competition venues purpose-built for the games. For the first time in Olympic history, environmental and sustainability issues were considered in venue construction. Two venues, Kristins Hall and Hafjell, were built before Lillehammer had been awarded the Olympics, although the former was only used for training during the Olympics. Lillehammer's incumbent ski jumping hill, Balbergbakken, was found to be unsuitable and Lysgårdsbakken was built instead. In the bid, the speed skating events were to be held at Stampesletta, an outdoor track and field stadium in Lillehammer. Only after Lillehammer had been awarded the 1994 Winter Olympics was it decided that an indoor venue would have to be built for the games. This started a debate about the location of the various ice rinks and resulted in the neighboring towns of Hamar and Gjøvik also receiving venues. Lillehammer failed at its bid to host the 2012 Winter Youth Olympics, losing to Innsbruck, Austria, but was awarded the 2016 edition as the only bidder. The bid was based on reuse of the heritage and venues from the 1994 Olympics. Beyond the construction of an Olympic Village, the only major upgrade to the venues is the addition of a curling rink in Kristins Hall. ## Competition venues In Lillehammer, the twin ski jumping hill of Lysgårdsbakken has a spectator capacity of 35,000. The large hill has a hill size of 138 and a K-point of 120, while the normal hill has a hill size of 100 and a K-point of 90. Birkebeineren Ski Stadium will host cross-country skiing, biathlon and Nordic combined. The stadium has a capacity for 31,000 spectators during cross-country skiing and 13,500 during biathlon. Spectators can also watch from along the tracks. Kanthaugen Freestyle Arena has a capacity for 15,000 spectators and will host freestyle skiing and half-pipe snowboarding. Lillehammer Olympic Bobsleigh and Luge Track is located at Hunderfossen and is the only bobsleigh, luge and skeleton track in the Nordic countries. Kristins Hall will host ice hockey and curling. Gjøvik Olympic Cavern Hall is located in a man-made cave and will feature the short-track speed skating events. In Hamar, Vikingskipet will host long track speed skating and Hamar Olympic Amphitheatre will host figure skating. Alpine skiing and slopestyle snowboarding will take place at Hafjell in Øyer. All the competition venues were built ahead of the 1994 Winter Olympics. Kristins Hall was the only venue not used during those games, while Håkons Hall and Kvitfjell were used, but will not be used for the Youth Olympics. The area has hosted world cup or world championship-level competitions in the majority of the events since the 1994 Olympics. The main international access point to the games is Oslo Airport, Gardermoen, located 145 kilometers (90 mi) south of Lillehammer. It is connected to Lillehammer via the Dovre Line and European Road E6. The following list contains the nine venues scheduled to be used during the 2016 Winter Youth Olympics. They are listed by their name, as well as containing the sports held at the venue, the municipality where they are located and the spectator capacity. ## Non-competition venues Stampesletta, a multi-sports complex next to Kristins Hall, will host the opening and closing ceremonies. The medal ceremonies will take place in the town plaza. There are five designated cultural venues in Lillehammer: Kulturhuset Banken, Lillehammer Art Museum, Lillehammer University College, Maihaugen and the Nansen Academy. The Main Media Centre will be located at Mesna Upper Secondary School, which is adjacent to Stampesletta. Athlete and leader accommodation will be provided at two Olympic Villages, one in Lillehammer for the Lillehammer and Øyer-based events, and one in Hamar for the Hamar and Gjøvik-based events. The Olympic Village in Hamar will make use of the 239-room Hotel Scandic Hamar, located between the two venues. It will serve as a village for all skating sports (long-track, short-track and figure), which take place in Hamar and Gjøvik. Travel distance from Hamar to Gjøvik is 50 kilometers (30 mi). The Youth Olympic Village in Lillehammer will be the only facilities of any size constructed for the Youth Olympics and is located at Stampesletta, 600 meters (2,000 ft) from the town center. This allows the village to be within walking distance from three of the competition venues: Kristins Hall, Lysgårdsbakken and Kanthaugen. The village will consist of the existing Birkebeineren Hotel & Apartments plus new residential buildings. The complex will have 1,786 beds. Dining will take place at Håkons Hall. Construction of the new residential areas are the responsibility of the Student Welfare Organisation in Oppland and Lillehammer Cooperative Housing Association. Travel distance to the event venues ranges from walking distance to 18 kilometers (11 mi). The following list contains the twelve non-competition venues scheduled to be used during the 2016 Winter Youth Olympics. They are listed with their function, location and capacity.

Dinner Party (The Office)

"Dinner Party" is the thirteenth episode of the fourth season of the American comedy television series The Office—the show's sixty-sixth episode overall. Written by the writing team of Lee Eisenberg and Gene Stupnitsky and directed by Paul Feig, the episode originally aired on NBC on April 10, 2008. Guest stars in the episode include Beth Grant, Steve Seagren, and Gary Weeks. In the episode, Michael Scott and his girlfriend Jan Levinson (Melora Hardin), the former Vice-President of Regional Sales at the Dunder Mifflin corporate office in New York City, throw a dinner party and invite Jim Halpert (John Krasinski) and Pam Beesly (Jenna Fischer), and Andy Bernard (Ed Helms) and Angela Martin (Angela Kinsey), as well as an uninvited Dwight Schrute (Rainn Wilson). The party ends with Michael and Jan having a loud argument; Michael leaves with Dwight on the advice of two police officers who respond to a domestic disturbance call after the fight. The episode was the first original episode of The Office to be broadcast since the episode "The Deposition" on November 15, 2007, due to the effects of the 2007–2008 Writers Guild of America strike. As such, the atmosphere on the set was one of a more laid-back nature, and the cast broke into laughter due to the jokes many times. "Dinner Party" received acclaim from critics, with many hailing it as one of the series' best entries. The episode received 4.8 Nielsen rating and was watched by 9.2 million viewers. ## Plot The office workers are stuck working overtime on a major assignment. After asking Jim Halpert (John Krasinski) to confirm that he has not made any plans for the evening in anticipation of the overtime assignment, Michael Scott (Steve Carell) calls corporate and declares that he is releasing the workers from overtime. Michael then proceeds to invite Jim and his girlfriend Pam Beesly (Jenna Fischer) to join him and his girlfriend Jan Levinson (Melora Hardin) for dinner at his condominium after Jim had previously turned him down nine times. When Jim begins to formulate an excuse, Michael reminds him that he just said he had not made any plans. Jim begins to suspect that Michael fabricated the overtime assignment and the call to corporate just to maneuver him and Pam into coming to dinner. Michael also invites Andy Bernard (Ed Helms) and Angela Martin (Angela Kinsey), but excludes Dwight Schrute (Rainn Wilson) due to it being a couples' dinner and Michael owning only six wine glasses, much to Dwight's dismay. On a tour of the condominium, Jan shows the workspace from which she runs her candle-making home business. Jan's dominance in the relationship is apparent from the living arrangements; Michael sleeps on a small bench due to Jan's "space issues", and his sole comfort is a very small "plasma TV", which he bought for \$200. It is also later revealed that Michael underwent three vasectomies in the course of trying to please Jan’s inconsistent decisions about having a child. Throughout the evening, Jan plays a song by her former assistant, Hunter. Titled "That One Night", the lyrics of the song strongly suggest an intimate encounter once occurred between Jan and Hunter. In the kitchen, Jan quietly confronts Pam with a false assumption that Michael and Pam had once dated, while Michael attempts to get Jim and Andy to invest in Jan's candle-making business for "only \$10,000". Jim's attempt to escape the party with Pam by pretending his apartment has flooded is unsuccessful. Dwight arrives, uninvited, with his own food, wine glasses and his former babysitter (Beth Grant) as his date. (Dwight describes the relationship as "purely carnal".) The feud between Michael and Jan escalates, culminating in Jan's destruction of the \$200 television using one of Michael's beloved Dundie Awards. The police arrive, responding to a call about a disturbance; despite Jan becoming remorseful, Michael agrees to spend the night with Dwight under the advice of the officers. Jim and Pam share a warm moment together eating take-out food in their car, repeatedly calling each other "babe" in a mockery of Michael and Jan; Jim also puts on Hunter's CD, which he stole from the condo. In Andy's car, Andy attempts to flirt with Angela by leaning in and tasting her ice cream cone; she responds coldly by smashing the ice cream on the outside of the door. Jan is then seen trying to fix the broken Dundie Award. ## Production ### Background The episode was the first original episode of The Office to be broadcast since the episode "The Deposition" on November 15, 2007, due to the effects of the 2007–2008 Writers Guild of America strike. The Writers Guild of America (WGA) went on strike at 12:01 am Eastern Standard Time on November 5, 2007. Filming of The Office immediately halted on that date, as Steve Carell, who is a member of the WGA, refused to cross WGA picket lines. Members of Writers Guild of America, East and Writers Guild of America, West voted to end the 100-day strike on February 12, 2008. Writers were allowed to return to work on the same day. The WGA allowed for show runners to return to work on February 11, in preparation for the conclusion of the strike. The show runner for The Office, executive producer Greg Daniels, returned on February 11, while the show's writers returned to work on February 13. If not for the writers' strike, this episode would have completed filming successfully during the week of November 5, 2007. ### Writing and directing "Dinner Party" was written by Lee Eisenberg and Gene Stupnitsky. Other writers for the series also added various background gags to the episode, such as Andy wearing two sweaters and holding a coat, all of the photos in the condo being of Jan with other men, and Michael's garage having both a Soloflex and a Bowflex back to back because "Michael is completely taken by late-night infomercials". The episode was directed by Paul Feig, making it his sixth directorial credit for the series. Eisenberg and Stupnitsky later noted that, because the episode was the first to be filmed following the strike, there was "a great, loose vibe on set", and as such, many of the actors would break character and laugh at the jokes. The majority of the episode took place at Michael's condo. This was the same location used in the second season entry "Office Olympics". Eisenberg and Stupnitsky explained that "the production design team did an amazing job to transform the condo from Michael's design aesthetic to Jan's." Contrary to most episodes of the series, in which the scenes and dialogue are scripted, many scenes from "Dinner Party" were improvised by the actors, such as Jan dancing while holding Jim's hand, Michael saying "snip-snap" when describing his multiple vasectomies, and Jan – along with Michael's reaction to – placing "finger horns" on her head while saying "I'm the devil". The song featured in the episode supposedly performed by Jan's former assistant, Hunter, was written by the episode writers Lee Eisenberg and Gene Stupnitsky and Todd Fancey of The New Pornographers; Eisenberg and Stupnitsky wrote the lyrics, and Fancey wrote the music. The song was sung by Fancey. Eisenberg and Stupnitsky later explained that, despite the suggestive lyrics, the song is "left to interpretation". In April 2018, Fancey shared the alternate version of "That One Night". After sending an acoustic version, Fancey was asked by a production assistant to record a "smoother, more polished" version of the song. The fully arranged version was later scrapped in favor of Fancey's original version. The episode guest starred Beth Grant, Steve Seagren, and Gary Weeks. Grant would later reprise her character in the ninth season episode "Junior Salesman". Grant was asked to appear in the episode after Daniels saw her performance in the 2007 film No Country for Old Men. Grant praised Carell's improvisational skills—noting that "he just keeps going off script [and that he] is channeling something"—as well as Wilson's humorous antics while acting. She concluded that "if they had wanted a crazy, wild feature film using all the comedy that I saw in just those few days, you could absolutely have had one" with their acting. ## Cultural references The group plays Celebrity, a game wherein teams play against each other to guess as many celebrity names as possible before time runs out. Michael tries to get his team to guess Arnold Schwarzenegger by saying, "Rhymes with Parnold Schwarzenegger". Michael also tries to get his team to guess Tom Cruise, to which Jim answers Katie Holmes and Dawson's Creek to purposely throw Michael off. Thematically, several crew members and critics have compared the episode to the 1962 play Who's Afraid of Virginia Woolf? by Edward Albee, which examines the breakdown of the marriage of a middle-aged couple. ## Reception ### Ratings "Dinner Party" brought in an average of 9.2 million American viewers, which was the highest total audience since the fourth season premiere episode "Fun Run". This episode achieved a 4.8/12 percent rating in the key 18–49 demographic, meaning that 4.8 percent of 18- to 49-year-olds were tuned in at any given moment and twelve percent of all 18- to 49-year-olds watching television at the time were tuned in. The episode ranked in eighth place, in the 18–49 demographic, among all programs on television, which aired during the week of this episodes original broadcast. ### Reviews The episode has been met with critical acclaim since it has aired and is considered one of the best episodes of The Office by many critics. Travis Fickett of IGN wrote that "this is one of those great episodes of The Office that is hysterical and difficult to watch at the same time." He noted that this was largely due to the fact that "it's not because of something Michael is doing that makes you wince. It's because of what's happening to him." He ultimately gave the episode an 8.9/10, denoting a "great" episode. Jay Black of AOL's TV Squad said that "[he] was happy The Office was back" but "the only thing [he] worried about was whether it'd still be good" after the writers strike. However, he noted that his fears were put to rest and that "Dinner Party" was "a Barry Bonds's-style chemically enhanced mega-home-run." M. Giant of Television Without Pity graded this episode with an "A." Aubry D'Arminio of Entertainment Weekly said that her favorite moment of the episode "was when Jan popped on that song by her former assistant, Hunter." Jack Rodgers of TV Guide wrote that it is "a hilarious, brutally awkward look at the relationship (and apartment) from hell, a train wreck that you just can’t keep from staring at." He also noted that it is "a study of four couples: one hideously dysfunctional (Michael and Jan), one loving (Jim and Pam), one mismatched (Angela and Andy), and one, ahem, "purely carnal" (Dwight and babysitter)." The A.V. Club reviewer Nathan Rabin praised the episode for its "sheer squirm-inducing awkwardness". He ultimately gave the episode an "A". Former United States Republican presidential nominee John McCain, a fan of the series, told writer B. J. Novak that his favorite scene from the show is in this episode when Michael is giving his guests a tour of his condo, and a tripod can be seen set up by his bed. ### Awards Lee Eisenberg and Gene Stupnitsky's writing for this episode was nominated for the Primetime Emmy Award for Outstanding Writing for a Comedy Series at the 60th Primetime Emmy Awards in 2008. Paul Feig won the 2008 Directors Guild of America award for Outstanding Directing in a Comedy Series for this episode.

London Road Fire Station, Manchester

Former fire station in Manchester, England

London Road Fire Station is a former fire station in Manchester, England. It was opened in 1906, on a site bounded by London Road, Whitworth Street, Minshull Street South and Fairfield Street. Designed in the Edwardian Baroque style by Woodhouse, Willoughby and Langham in red brick and terracotta, it cost £142,000 to build and was built by J. Gerrard and Sons of Swinton. It has been a Grade II\* listed building since 1974. In addition to a fire station, the building housed a police station, an ambulance station, a bank, a coroner's court, and a gas-meter testing station. The fire station operated for eighty years, housing the firemen, their families, and the horse-drawn appliances that were replaced by motorised vehicles a few years after its opening. It was visited by royalty in 1942, in recognition of the brigade's wartime efforts. After the war it became a training centre and in 1952 became the first centre equipped to record emergency calls. However, the fire station became expensive to maintain and after council reorganisation decline set in. The building was the headquarters of the Manchester Fire Brigade until the brigade was replaced by the Greater Manchester Fire Service in 1974. The fire station closed in 1986, since when it has been largely unused despite several redevelopment proposals. It was placed on English Heritage's Buildings at Risk Register in 2001 and in 2010 Manchester City Council served a compulsory purchase order on the fire station's owner, Britannia Hotels. Britannia announced in 2015 their intention to sell the building after nearly 30 years of dereliction. It was sold to Allied London in 2015 and renovation commenced in 2018 with the building to be redeveloped as a mixed-use comprising leisure and hotel facilities. ## Construction In 1897 the Manchester Watch Committee was considering a replacement for its fire station on Jackson's Row. A five-man sub-committee was set up and recommended a site on Newton Street. In 1899, George William Parker who had designed fire stations in Bootle and Belfast, and been referred to as the "architect of the world's fire service" was appointed Chief of the Manchester Fire Brigade and asked his opinion on the proposal. Parker reported that the site on Newton Street was unsuitable and submitted plans for a fire station on a site bounded by London Road, Whitworth Street, Minshull Street South and Fairfield Street. Parker's proposal was for a 7-bay fire station on a site more than double the size of the one proposed on Newton Street. The choice of London Road was influenced by its proximity to a development of warehouses on Whitworth Street and Princess Street. Parker convinced the city council to choose his proposals rather than those on Newton Street. A competition, with prizes of £300, £200 and £100 (equivalent to £, £ and £ in 2023) was organised to design the new fire station. The competition drew interest from across the country, attracting 25 entries. The winning entry was by John Henry Woodhouse, George Harry Willoughby and John Langham, a team of local architects. Their design was based closely on Parker's initial plans. The fire station was described by Fire Call magazine as "the finest fire station in this round world" before construction started. The fire station was built between 1904 and 1906 at a cost of £142,000 (equivalent to £ in 2023). The building's substructure and foundations were built by C. H. Normanton of Manchester. The superstructure was built by Gerrard's of Swinton at a cost of £75,360. It was faced with red brick and terracotta by Burmantofts, a common choice for early 20th-century buildings in Manchester as it was cleanable and resisted the pollution and acid rain caused by local industry. Other notable Manchester buildings from this era making use of terracotta include the Midland Hotel, the Refuge Assurance Building, the University of Manchester's Sackville Street Building and the Victoria Baths. The building's exterior featured sculptural models by John Jarvis Millson representing the functions of the building such as justice, fire and water. The building had stained glass windows and the interior was decorated with glazed bricks, similar to other public buildings of this era in the city, such as the Victoria Baths. The similarities suggest the influence and adoption of a standard design by Henry Price's newly created City Architect's Department. ## Operation The building was opened on 27 September 1906 by the Lord Mayor of Manchester James Herbert Thewlis. In addition to the fire station, it housed a police station on Whitworth Street, an ambulance station on Minshull Street South, a branch of Williams Deacon's Bank at the corner of London Road and Fairfield Street, a coroner's court, and a gas-meter testing station on London Road. The coroner's court and gas-meter testing station replaced the proposed public library and gym. The fire station contained flats for 32 firemen and their families and 6 single firemen. Facilities included a laundry, gym, billiards room and children's play-areas. The complex contained stables for the horses that pulled the fire appliances, and a blacksmith's workshop. There were electric bells and lights to alert firemen to an alarm, poles to expedite the firemen's response, suspended harnesses to allow the horses to be harnessed quickly, and electric doors. The fire station was also designed with foresight; the appliance bays were made wide enough to take motorised fire appliances. The station's first motorised fire appliance arrived in 1911, five years after it opened. The building has a 130-foot (40 m) hose tower and a ventilation system designed by Musgrave and Company to prevent the odour from the horses' stalls entering the firemen's living quarters. Fresh air was drawn in through the top of the fire station's tower, purified and circulated around the building. When the air reached the end of the circuit, in the stalls, it was extracted from the building. The system meant that the air in the building was replaced every 10 minutes. During the Second World War the basement was converted into an air-raid shelter and an extension built in the yard to provide more space in the control room. The fire services were nationalised in 1941, and London Road became the headquarters of Division C. In recognition of the fire fighters' efforts King George VI and Queen Elizabeth visited the fire station in 1942. After the war the Manchester Fire Brigade was again municipalised, and reorganised. London Road Fire Station was restored as the headquarters of the brigade and became the only fire station serving the city centre. A fire service training centre was established in 1948. At about the same time, the ambulance station closed and was converted into the fire brigade's workshops. The control room was modernised in 1952, becoming the first in the country with equipment to record emergency calls. The interior was refurbished in 1955. The exterior had been cleaned every year since the fire station opened, and as a result was in pristine condition when the building celebrated its Golden Jubilee on 6 October 1956. ## Decline By the end of the 1960s maintenance was becoming increasingly expensive, and the building's design ill-suited to modern fire appliances. Plans to replace the fire station were put on hold pending the formation of the Greater Manchester Fire Service. The building has been Grade II\* listed since 1974, the same year that the replacement of the Manchester Fire Brigade by the Greater Manchester Fire Service precipitated the relocation of the brigade's headquarters to a new facility in Swinton. As part of the reorganisation, London Road became the headquarters of the brigade's "E Division", with the station's control room responsible for two divisions covering the City of Manchester, the Metropolitan Borough of Stockport and Tameside. The reorganisation meant the number of appliances was reduced, until only three remained at the station. The control room at London Road closed in 1979, replaced by a single computerised control room at brigade headquarters in Swinton. In the same year, following the establishment of Greater Manchester Police and a reorganisation of policing in the city, the police station in the building also closed. The closure left the ground floor on the Whitworth Street side empty. The last tenants of the bank section, a firm of solicitors, and the fire brigade's workshops, also vacated the building at about the same time. In 1984 construction work began on a £2.4 million, 4.5-acre (1.8 ha) replacement in Thompson Street and in 1985 the old London Road Fire Station was brought within the Whitworth Street Conservation Area. In 1986 the fire service left London Road for its new fire station, London Road Fire Station closed and the building was sold. ## Dereliction and redevelopment ### 1986 purchase and decline After the sale in 1986 the building was mainly used for storage whilst planning applications to convert it into a hotel were made in 1986, 1993, and 2001, with varying degrees of success. The coroner's court was the last to vacate the premises, in 1998. In 2001, the building was placed on English Heritage's Buildings at Risk Register. By 2004 it was in steep decline, and momentum was building for the fire station's owner, Britannia Hotels, to act. ### 2006 plans In February 2006, Argent, developers proposed leasing the building from Britannia Hotels to transform it into a music and arts venue. Manchester City Council backed the plans and refused to rule out a compulsory purchase order (CPO) if the owner did not act to redevelop the building. Britannia Hotels branded Argent's plans "unworkable" and proposed turning the building into a company headquarters, 200-bed hotel, and fire station museum. A planning application was promised by March 2006, but by May none had been made. Work was carried out by February 2007 to make the building watertight and in autumn 2007 a proposal was made by Britannia to convert the building into a hotel. Britannia Hotels appointed Purcell Miller Tritton to draw up plans to convert the building into a hotel in 2008 but none were produced by May 2009 and the city council lost faith in Britannia Hotels' commitment to its redevelopment. The city council was concerned that the state of the fire station was limiting regeneration in the area, including a proposed government complex on the former Mayfield Railway Station site. The city council set a deadline of July 2009 for progress on redevelopment. Britannia Hotels' proposal in July 2009 was to convert the fire station into a hotel with a 15-storey tower in its courtyard and promised a planning application by October 2009, but none was made and the city council's Chief Executive recommended issuing a CPO. ### 2010 CPO issued A meeting of the city council in January 2010 approved a request for up to £5.25 million to cover the costs associated with the fire station's acquisition. Britannia Hotels responded by pledging to make a new proposal by February 2010, rendering the CPO unnecessary. Britannia submitted an application to turn the fire station into a 227-bed 4-star hotel in June 2010. The Victorian Society praised the proposed conversion. Manchester City Council decided to continue with the CPO. The city council issued a CPO on 5 August 2010. Despite the plans being approved 16 September 2010, the council continued to pursue a CPO and solicited bids for a development partner in January 2011. ### 2011 CPO rejected Britannia's objection to the CPO led to a public inquiry in April 2011. On 29 November 2011, the Department for Communities and Local Government confirmed the CPO had been rejected. Despite Britannia's guarantee at the inquiry to proceed with the development it reconsidered its plans. In a letter to English Heritage, Britannia said the proposed scheme was unsustainable for the foreseeable future. Britannia wanted to return to the rejected tower plan. English Heritage and the city council expressed disappointment. The city council offered to buy the building at market value. ### 2013 campaign for a second CPO In February 2013 after a public meeting the Friends of London Road Fire Station (FoLRFS) was formed to pressurise Britannia Hotels and persuade the council to attempt a second CPO. The group organised an online petition, fundraising events, public meetings, an online survey to discover locals' views, an art exhibition and public engagement with its history, and published the outcome of a Freedom of Information Act request on what the council had done regarding surveying the building and issuing urgent-works notices. In November 2013, Britannia applied to extend the 2010 planning permissions but despite objections the applications were approved on technical grounds in December 2013. ### 2014 second CPO started The council considered applying for a CPO for the second time in September 2014 and confirmed its intention to do so in December 2014 and meet with FoLRFS in early 2015. FoLRFS received a grant from Locality's Community Assets in Difficult Ownership (CADO) programme to pay for public outreach work. On 30 April 2015, FoLRFS met Pat Bartoli, head of the council's urban regeneration team and Howard Bernstein who praised their campaign. ### 2015 owner sells the building It was announced immediately after the meeting that Britannia Hotels had decided to sell the building. London Road Fire Station was put on the market on 1 May 2015 and expected offers of around £10 million while restoration is expected to cost £20–30 million. Allied London acquired the fire station on 16 November 2015. ## See also - Grade II\* listed buildings in Greater Manchester - Listed buildings in Manchester-M1

Interstate 380 (Iowa)

Auxiliary Interstate Highway in Iowa, United States

Interstate 380 (I-380) is a 73-mile (117 km) auxiliary Interstate Highway in eastern Iowa. The route extends from I-80 near Coralville to Waterloo. I-380 connects the cities of Cedar Rapids and Waterloo, the state's second- and sixth-largest cities, respectively, to the Interstate Highway System. Except for its last 1.5 miles (2.4 km) north of U.S. Highway 20 (US 20), I-380 runs concurrently with Iowa Highway 27 (Iowa 27), which represents Iowa's portion of the 560-mile (900 km) Avenue of the Saints highway connecting Saint Louis, Missouri, with Saint Paul, Minnesota. Construction of I-380 took 12 years to complete, ending in 1985. After the Interstate opened, US 218 was moved onto the new freeway south of Cedar Rapids. In the 1990s, the I-380 corridor was selected as part of the Avenue of the Saints corridor, which Iowa designated as Iowa 27 in 2001. I-380 has been affected by two major floods, the Great Flood of 1993 and the Iowa flood of 2008, both of which closed the road at the Iowa River for two weeks. ## Route description I-380 begins where US 218 and Iowa 27 cross I-80 in Coralville in Johnson County. Originally designed as a cloverleaf interchange, the Iowa Department of Transportation (Iowa DOT) began reconstructing the original interchange into a turbine interchange design in 2019. As of March 2021, the eastbound ramps from I-80 are utilizing the new flyover bridges while transit from northbound US 218 to westbound I-80 requires a detour via the next interchange at Forevergreen Road. The Iowa DOT projects frequent night closures of portions of the interchange to continue until completion of the upgrade, likely 2025. From the interchange, I-380, US 218, and Iowa 27, the route assigned to the Avenue of the Saints highway in Iowa run concurrently toward Cedar Rapids. The Interstate heads north and serves North Liberty. North of North Liberty, the freeway runs parallel to the former routing of US 218 and Iowa 965; here, the two highways cross the Iowa River. After crossing into Linn County, the three routes enter the Cedar Rapids city limits near Eastern Iowa Airport. Three miles (4.8 km) north of the airport, I-380 intersects US 30 and US 151 at a combination interchange. At this interchange, US 218 splits away from I-380 and Iowa 27. Through Cedar Rapids, the I-380 freeway is elevated relative to the nearby streets and residential neighborhoods. As it approaches downtown and the Cedar River, the freeway takes a tight, 90-degree turn to the east, crosses the river and squeezes between a Quaker Oats Company plant and Alliant Energy PowerHouse, before turning back 90 degrees to the north. Between downtown and the Coldstream–29th Street interchange, I-380 serves as a dividing line between residential areas to the east and industry to the west. Toward the northern end of Cedar Rapids, industry is replaced with commerce as I-380/Iowa 27 meet Iowa 100, locally known as Collins Road, at a volleyball interchange. The freeway leaves Cedar Rapids and enters Hiawatha, where there are two interchanges, one at Blairs Ferry Road, which shares a southbound collector ramp with Collins Road, but has its own exit and entrance ramps. There is also a diamond interchange with Tower Terrace Road, before continuing northbound. Quickly escaping the Cedar Rapids area, I-380 turns to the northwest and passes through predominantly rural areas with small communities and farms dotting the way. Because of its northwestern angle, I-380 enters four counties within 30 miles (48 km), as counties in Iowa are generally rectangular in shape. It passes Center Point in northwestern Linn County, Urbana in northeastern Benton County, where it meets Iowa 150, and Brandon in southwestern Buchanan County. The Interstate travels into Black Hawk County, heading northwest for seven miles (11 km) before turning north for three miles (4.8 km) until a directional T interchange with US 20. Together with US 20, I-380 and Iowa 27 travel west toward Waterloo and Cedar Falls. The three routes pass the eastern Waterloo suburbs of Raymond, Evansdale, and Elk Run Heights. Almost immediately after crossing the Cedar River again, I-380 splits away from US 20 and Iowa 27 and rejoins US 218 at a three-level stack interchange. I-380 and US 218 head north to the east of the Crossroads Center shopping mall. I-380 ends at the traffic light at Mitchell Avenue one-half mile (800 m) north of the interchange which serves the Crossroads Center. US 218 continues to the north at this point. ## History The first section of I-380 opened to traffic on September 19, 1973. That section connected Eastern Iowa Airport to I-80 at Coralville. Within three years, the Interstate had been extended into Cedar Rapids at the Cedar River. The bridge which crossed the river would not open until June 1979. By the end of 1981, I-380 was a continuous road to the Coldstream Avenue/Glass Road interchange. The Interstate was originally scheduled to be open by December 25, 1984, but weather delays pushed back the construction timetable. The last section of I-380 to be completed opened on September 12, 1985. In 1985, US 218 was bypassed around Iowa City and Coralville, joining I-380 at the I-80 interchange. US 218 to Cedar Rapids was replaced by Iowa 965. In the early 1990s, most of I-380 was designated as part of the Avenue of the Saints corridor, which connects Saint Louis, Missouri, to Saint Paul, Minnesota. Avenue of the Saints route markers were erected along the route the next year. In August 2001, the Avenue of the Saints in Iowa was given a single designation, Iowa 27, to facilitate following the route through the state. ### Flooding I-380 crosses two of Iowa's major rivers, the Iowa and Cedar rivers. Both rivers have affected the Interstate during major floods, as the case was in 1993 and 2008. During the Great Flood of 1993, I-380 and Iowa 965 were both closed at the Iowa River's Coralville Lake reservoir between July 13 and 28. The roads reopened after the lake's waters receded enough to allow Iowa DOT inspectors to check the three bridges over the water. The Iowa flood of 2008 affected the same section of I-380 at the Iowa River in much the same fashion as in 1993. I-380 and former Iowa 965 were closed at the Iowa River on June 13 until July 3. In Cedar Rapids, flooding did not close I-380; the only bridge not to close, though traffic was restricted through the city. The flooding damage was much more severe in Cedar Rapids than in Iowa City. The Cedar River crested at over 31 feet (9.4 m) on June 13, causing hundreds of millions of dollars in damage. ## Exit list

Naledi Pandor

South African politician

Grace Naledi Mandisa Pandor (née Matthews; born 7 December 1953) is a South African politician, educator and academic serving as the Minister of International Relations and Cooperation since 2019. She has served as a Member of Parliament (MP) for the African National Congress (ANC) since 1994. Born in Durban, Pandor completed high school in Botswana. She qualified as a teacher and taught at multiple schools and universities, whilst she achieved various degrees from different universities. Pandor took office as a Member of Parliament in 1994. She soon became Deputy Chief Whip of the ANC caucus in 1995. She was elected Deputy Chairperson of the National Council of Provinces in 1998 and became chairperson in 1999. She initially became a member of the national cabinet in 2004, following President Thabo Mbeki's decision to appoint her as Minister of Education. She retained her post in the cabinet of Kgalema Motlanthe. Newly elected President Jacob Zuma named her Minister of Science and Technology in 2009. She served in the position until her appointment as Minister of Home Affairs in 2012. She returned to the post of Minister of Science and Technology in 2014 and held it until 2018, when she became Minister of Higher Education and Training in the first cabinet of President Cyril Ramaphosa. After the 2019 general election, Pandor was mentioned as a possible candidate for Deputy President of South Africa. She was instead appointed Minister of International Relations and Cooperation. ## Early life and education Grace Naledi Mandisa Matthews was born on 7 December 1953 in Durban, Natal, to Regina Thelma (died 2002) and Joe Matthews (1929–2010), a political and anti-apartheid activist and the son of academic Z. K. Matthews (1901–1968). She received her primary and secondary education in Botswana. She matriculated from Gaborone Secondary School. Between 1973 and 1977, she achieved a Certificate for Continuing Education and a bachelor's degree from the University of Swaziland and the University of Botswana, respectively. She proceeded to head overseas and fulfilled a Diploma in Education and an MA degree from the University of London between 1978 and 1979. Pandor obtained a diploma in higher education, administration and leadership from the Bryn Mawr Summer Programme in 1992, and soon enrolled at Harvard Kennedy School to receive a diploma in leadership in development in 1997. She also attained an MA degree in linguistics from the University of Stellenbosch in the same year. Pandor received her PhD in education at the University of Pretoria in 2019, with a thesis titled "The contested meaning of transformation in higher education in post-apartheid South Africa". ## Teaching career Pandor became a teacher at the Ernest Bevin School in London in 1980. She was soon employed as a teacher in Gaborone in 1981 and worked as one until 1984. She proceeded to serve as an instructor at the Taung College of Education from 1984 to 1986. Pandor worked as a senior lecturer in English at the University of Bophuthatswana from 1986 to 1989. She soon worked as a senior fellow in the Academic Support Programme of the University of Cape Town between 1989 and 1994. While at the University of Bophuthatswana, Pandor served as the chair of the university's Union of Democratic Staff Associations between 1988 and 1990. She was appointed the chairperson of the Western Cape National Executive Committee of the National Education Coordinating Committee in 1991 and served in the position until 1993. At the same time, she was part of the ANC's Western Cape Education Committee. Additionally, Pandor chaired the ANC Athlone Central branch, whilst serving as both the head of the Desmond Tutu Education Trust and the Western Cape School Building Trust. From 1992 to 1995, she worked as deputy head of the Tertiary Education Fund of South Africa. She soon became head of the fund. She was also deputy chairperson of the Joint Education Trust Board of Trustees between 1993 and 2001. She was chancellor of Cape Technikon from 2002 to 2004. During the same period, she was a member of the governing council of the University of Fort Hare. ## Early parliamentary career Pandor became a Member of the Parliament in the lower house of Parliament, the National Assembly, following the 1994 general election. Within the ANC caucus, she served as Deputy Chief Whip from 1995 until her deployment to the upper house of Parliament, the National Council of Provinces, in 1998. She served as Deputy Chairperson until her appointment as Chairperson following the 1999 general election. She succeeded inaugural Chairperson Mosioua Lekota when she assumed the office on 21 June 1999. She was the first woman to hold the role. Joyce Kgoali succeeded Pandor in 2004 and consequently became the second woman to hold the role. ## National government Pandor returned to the National Assembly following the 2004 general election. President Thabo Mbeki appointed her to the role of Minister of Education; she took office on 12 May 2004. During her tenure in the portfolio, she was responsible for a complete overhaul of the nation's education system. Pandor initiated reforms to the country's failed implementation of the outcomes-based education (OBE) system. Mbeki resigned in 2008 and left Kgalema Motlanthe in charge. Motlanthe retained Pandor in her position in his interim cabinet. Following the 2009 general election, Jacob Zuma became the new President of South Africa. He unbundled the Education Ministry into two new portfolios and appointed Pandor to the newly established post of Minister of Science and Technology in May 2009. During her time in the position, Pandor served as a driving force for South Africa to host the Square Kilometre Array (SKA) in the Karoo region. South Africa won the bid. In October 2012, Nkosazana Dlamini-Zuma resigned as Minister of Home Affairs in order for her to take up the role as Chair of the African Union. Her resignation caused a vacancy in the cabinet. Zuma consequently appointed Pandor as Minister of Home Affairs in an acting capacity on 2 October 2012. Soon after on 4 October 2012, Zuma formally appointed her as Minister of Home Affairs. In October 2013, she served as acting president for a day as Zuma visited the Democratic Republic of the Congo. Following her re-election in the 2014 general election, Zuma announced that Pandor would return to the Department of Science and Technology. Malusi Gigaba succeeded her as Minister of Home Affairs. She took office on 26 May 2014 and succeeded Derek Hanekom. Cyril Ramaphosa assumed the office of President in February 2018. Pandor was appointed Minister of Higher Education and Training and took office on 27 February 2018, succeeding Hlengiwe Mkhize. After the 2019 general election, the Ministry of Higher Education and Training was split. Pandor was speculated to be appointed Deputy President of South Africa. She was Ramaphosa's original choice for Deputy President back in 2017 at the ANC's elective conference. She was instead appointed Minister of International Relations and Cooperation and assumed office on 30 May 2019. In response to the 2022 Russian invasion of Ukraine, Pandor and the Department of International Relations and Cooperation were initially critical of the invasion and released a statement, in which they called on Russia to withdraw its forces in Ukraine immediately. Ramaphosa was reportedly unhappy with Pandor and the department's statement, because it contradicted South Africa's position that negotiation was needed to end the war. Pandor later backtracked on her position, toeing the party line instead. On 10 March 2022, Pandor said that she supported the idea of a single African currency to increase intra-continental trade. In September 2022, Pandor stood in for Ramaphosa at the Seventy-seventh session of the United Nations General Assembly after he had decided to return to South Africa due to the ongoing electricity crisis after his working visit in Washington, D.C. In her address to the assembly, Pandor said that all ongoing wars and conflicts around the world should be given equal attention. She also called for Israel to be held accountable for its "destructive actions" in the Israeli–Palestinian conflict, for the embargo against Cuba to be lifted and echoed the African Union's call for sanctions against Zimbabwe to be lifted. Pandor was one of a number of sitting cabinet ministers who unsuccessfully sought re-election to the National Executive Committee of the African National Congress at the party's 55th National Conference in December 2022. Reacting to the ICC arrest warrant for Vladimir Putin, Pandor criticized the International Criminal Court (ICC) for not having what she called an "evenhanded approach" to all leaders responsible for violations of international law. South Africa, which failed in its obligation to arrest visiting Sudanese President Omar al-Bashir in June 2015, invited Russian President Vladimir Putin to the 15th BRICS Summit of leaders of Brazil, Russia, India, China and South Africa in August 2023. As South Africa is a signatory to the Rome Statute, the presence of Vladimir Putin remains uncertain. In May 2023, Pandor announced that she had approved diplomatic immunity for Vladimir Putin and his officials so that they could attend the 15th BRICS Summit despite the ICC arrest warrant. On 23–26 January 2023, Russian Foreign Minister Sergey Lavrov visited South Africa and several other African states. Pandor thanked Lavrov for the "most wonderful meeting" and described Russia as a "valued partner." ## Personal life Pandor is married to Sharif Joseph Pandor, whom she met while studying in Botswana, and they have four children together. She converted to Islam after she met her husband. Her in-laws gave her the Islamic name of Nadia. On her religious conversion, Pandor said: "My parents said God is God. As long as you worship Him we will support you and the Islamic principles are universal. Certainly, Islam demands much more of you in terms of observance."

Flaws and All

Song by Beyoncé

"Flaws and All" is a song by American recording artist Beyoncé, included on the 2007 deluxe edition of her second studio album, B'Day (2006). It was composed by Ne-Yo, Shea Taylor, Beyoncé and Solange Knowles, while Beyoncé Knowles and Taylor produced it. In the R&B song, Beyoncé shows appreciation for the love given by her man, who sees through all of her flaws and loves her unconditionally. "Flaws and All" received positive reviews from critics, who lauded Beyoncé's emotion and vulnerability on the track. Some critics also noted that the song was better than some of the songs on the standard edition of B'Day. The music video was directed by Cliff Watts and Beyoncé for B'Day Anthology Video Album (2007). It features clips of a B'Day promotional ad by Wal-Mart pieced together, in which Beyoncé does not lip-sync the words of the song, but instead acts as if it were an everyday scenario. Beyoncé explained the concept for the video was to show a different side to her, that the paparazzi does not show and that fans would not normally see. Beyoncé performed "Flaws and All" on The Beyoncé Experience (2007), and the song was included on the live album The Beyoncé Experience Live (2007). It was also sung live on The Ellen DeGeneres Show in 2008 and during Beyoncé's show Revel Presents: Beyoncé Live in May 2012. ## Background "Flaws and All" was written by Ne-Yo, Shea Taylor, Beyoncé Knowles and her sister Solange Knowles. The R&B song was produced by Beyoncé Knowles and Taylor, and mixed by Jean-Marie Horvat at Oz Recording Studios, Valencia, California. "Flaws and All" was recorded by Jim Caruana, Shane Woodley and Robert "LB" Dorsey at Roc the Mic studio, New York City. Although the song was originally included on the re-release of B'Day, it was additionally included on compilation albums. In 2007 the song was included on Tyler Perry's Why Did I Get Married? soundtrack. In 2008, Beyoncé released the song on a compilation album dedicated to karaoke performances titled Beyoncé Karaoke Hits, Vol. I. Author Latrice Gleen references the song in a memoir titled My Life's Journey (2010). ## Reception Chris Willman of Entertainment Weekly named the song as his favorite addition to the deluxe edition of B'Day, stating, "Better is 'Flaws and All', a ballad in which B[eyoncé] expresses melismatic gratitude that workaholic bitches (her words!) merit love too." Rory Dollard of Metro also wrote that the song was better than some of the tracks on the original track listing of B'Day. While reviewing the deluxe edition of B'Day, Sal Cinquemani of Slant Magazine praised the song, calling it a "surprise gem [which] sound[s] downright subtle". BET included the song in its list of the "Top 10 Feel Good R&B Songs", ranked at number nine. Discussing their choice, they stated "'Flaws and All' ... revealed Beyoncé at her most vulnerable. The song showed that even a superstar can struggle with insecurities and be in need of someone to love her." Bobby Reed of Chicago Sun-Times noted that the lyrics could also refer to "the way fans worship Beyonce". Anthony Venutolo of New Jersey On-Line noted that the song talks about true love. Destiny's Child bandmate Kelly Rowland discussed the track during Billboard's "Woman of the Year" spread for Beyoncé. She stated "Beyoncé is a true artist who brings it every time. My favorite song will always be 'Flaws and All.' So much feeling, so beautiful; her voice sounds amazing." ## Music video The music video for "Flaws and All" was directed by Cliff Watts and Beyoncé. The video for the song was shot on inexpensive Super 8 film during the two-week filming for the B'Day Anthology Video Album (2007). Critics have noted that Beyoncé emulates Marilyn Monroe, Brigitte Bardot and Barbra Streisand throughout the clip. During an interview with MTV on a "Beyoncé: Behind the B'Day Music Videos", MTV commented on Beyoncé's appearance in the music video stating that she acts like "a goofball" and "it also feels like we get to see the real [her]." Beyoncé replied, "I'm way different in my everyday life. My personal life and my celebrity life — I've separated them so much it's like two different people. But I'm pretty balanced. I'm over the top and I'm natural." In an interview with Vibe, Beyoncé explained that the concept for the video in depth after being questioned as an "everyday woman." "I don't sing any of the song. The whole time it's like a silent movie and I'm being myself. I'm not performing. I reveal a side of myself no one's ever seen. I'm silly and goofy and not...trying to be a diva, or trying to be a star – just me." The video features a black and white theme and a grainy film texture. Beyoncé does not lip-sync the lyrics but acts out parts of the song and poses. Several of the scenes used in the video had been shot in 2006 for a B'Day promotional ad by Wal-Mart. ## Live performances Beyoncé performed the song on multiple occasions, including the song as part of her set list on The Beyoncé Experience (2007). Beyoncé cried during the performance, and was then embraced by a male dancer dressed as an angel. Chris Willman of Entertainment Weekly praised Beyoncé's performance of the song stating "The true defibrillator moment, all freakum dress changes aside, is 'Flaws and All', during which Beyoncé weeps real tears (nightly, according to reports from earlier overseas shows) while apologizing for being such a bitch. That's a rare campy, melodramatic performance in an otherwise energized two hours." The performance also caught the attention of The New York Times writer Jon Pareles who stated, "Along the way the concert was a showcase for her consistently expanding music, from the kinetic dance beats of songs like 'Get Me Bodied' to dramatic ballads like 'Flaws and All', which Beyoncé sang wide-eyed in a video close-up." J. Freedom du Lac of The Washington Post wrote that during the performance she was offering a "litany of her own 'imperfections' that her lover embraces unconditionally". Anthony Venutolo of New Jersey On-Line wrote that the performance was "silly". The performance of the song in Los Angeles on September 2, 2007, was taped and included on The Beyoncé Experience Live. The performance of the song was also shown independently at MTV.com and was released via digital download at the iTunes Store on November 19, 2007. Beyoncé performed the song on The Ellen DeGeneres Show on November 25, 2008 while promoting her third album I Am... Sasha Fierce. In May, 2012, she performed "Flaws and All" as a part of her revue show Revel Presents: Beyoncé Live at Revel Atlantic City. While reviewing the show, Ben Ratliff of The New York Times wrote, "She has a fast-reacting face, and opens her eyes wide to look astonished, touched, or grateful. (She did this especially during 'Flaws and All,' which she dedicated to her fans: 'I don't know why you love me/And that's why I love you.')" A writer for Vibe magazine listed the performance of the song in the five notable moments from the concerts, saying that Beyoncé "had the camera zoom in on her face the whole time, showing the crowd her own 'flaws,' allowing the crowd to connect to her". "Flaws and All" was also included on the live album Live in Atlantic City (2013) which was filmed during the revue. In 2013, Beyoncé added the song to the set list of her worldwide The Mrs. Carter Show World Tour. During the performance she dedicated the song to her fans, the BeyHive. A decade later, the song again appears on the setlist of Beyoncé's Renaissance World Tour, as part of the show's first act composed mainly of ballads and deep cuts from the artist's discography. ## Credits and personnel Credits are taken from B'Day Deluxe Edition liner notes. - Jim Caruana – recording - Tom Coyne – mastering - Rober "LB" Dorsey – recording - Jean-Marie Horvat – mixing - Beyoncé Knowles – writing, production, vocals - Solange Knowles – writing - Collin Miller – digital prep engineering - Ne-Yo – writing, co-production - Shea Taylor – writing, production - Michael Tocci – recording - Shane Woodley – recording

Sex (The 1975 song)

"Sex" is a song by English band the 1975 from their second extended play (EP) of the same name (2012) and eponymous debut studio album (2013). The song was written by band members George Daniel, Matty Healy, Adam Hann and Ross MacDonald. The band co-produced the EP version of the song with Michael and Robert Coles, while Mike Crossey provided additional production. The album version, produced by Crossey and the band, was released as the lead single on 23 August 2013 by Dirty Hit, Polydor Records and Vagrant Records. Written at the age of 19, Healy said the song represents a love letter to prudish teenage girls. An indie rock, indie pop and emo song, "Sex" contains elements of Britpop, power pop and pop-punk. Centred around spontaneous sexual intercourse and relationship allegiances, the song's lyrics discuss teenage angst, lust and infidelity. Upon release, the song received generally positive reviews from contemporary music critics, who praised its instrumentation, hooks and nostalgic lyrics, with some deeming it a highlight from Sex and The 1975. The song peaked at number 34 on the UK Singles Chart and number 35 on the US Billboard Alternative Airplay chart, and later was certified gold in both countries. Three music videos were released to accompany the song, including one set to an acoustic rendition of the track and a black and white version. The main version, directed by Adam Powell, was released on 26 July 2013. The visual depicts teenagers having sex, partying and taking drugs. ## Background and development In January 2012, The 1975 was formed by singer Matty Healy, drummer George Daniel, guitarist Adam Hann and bassist Ross MacDonald, who had played music together since 2002. After being rejected by a number of major record labels, artist manager Jamie Osborne discovered the band and signed them to his label Dirty Hit. The 1975 were introduced to producer Mike Crossey, who aided them in the development of their debut album. Following the record's completion, the band chose to develop four extended plays (EP) based on the album tracks "The City", "Sex" and "Chocolate": Facedown (2012), Sex (2012), Music for Cars (2013) and IV (2013). The 1975 were recognised as a breakthrough act in 2013, having achieved commercial success with the sleeper hit "Chocolate", which became a radio staple. In May 2013, the band announced their eponymous debut album would be released on 9 September; it was ultimately released on 2 September 2013 and includes "Sex". Written when Healy was 19, "Sex" is a song about dallying with an indecisive yet flirtatious woman who is unable to make up her mind; in a performance hosted by Last.fm, Healy described the track as a love letter to "every prudish 17-year old girl". He also rejected the idea that the song is "brash", instead arguing that "Sex" is "[the singer] at [his] most romantic", and that it reflects the personality of his youth. The song initially appeared on the 1975's EP of the same name; its production was handled by the band alongside Michael and Robert Coles, while Crossey provided additional production and was responsible for mixing the track. An updated version of "Sex", produced by Crossey and the band, was later released as the lead single from The 1975 on 23 August 2013. ## Music and lyrics Musically, "Sex" is an indie rock, indie pop and emo song. The song has a length of three minutes and twenty-six seconds (3:26) and was written by the 1975 members George Daniel, Healy, Adam Hann and Ross MacDonald. The track's production incorporates minimal synths, stadium-rock guitars, coarse guitar lines and "shimmery" riffs, pounding drums, strained chords and a post-rock-influenced middle eight. "Sex" also draws influence from power pop, Britpop and pop-punk music. While the re-recorded album version of the song features additional synths and layers, it largely retains the composition of the original EP version. Healy's vocal delivery in the track was described as near-spoken word by Alexander De Petro of Music Feeds. The lyrics to "Sex" explore themes related to teenage angst, lust, sex, and infidelity. Many of the track's lyrics describe literal scenes, such as the line: "My shirt looks so good, when it's just hanging off your back." Elsewhere, Healy discusses relationship allegiances, pondering the merits of receiving fellatio from a woman who already has a romantic partner with the lyrics: "And I'm not trying to stop you love, but if we're going to do anything we might as well just fuck." In the track's hook, Healy repeatedly exclaims: "She’s got a boyfriend anyway." ## Reception Amanda Koellner of Consequence wrote that "Sex" is the "attention-grabbing centerpiece" of the EP Sex. Reviewing the original version of the song, Brightest Young Things writer Bryce Rudow complimented Healy's vocals for their melodic quality while also praising the track's "catchy" production. Nothing but Hope and Passion's Norman Fleischer asserted "Sex" represents the EP's "obvious" standout and called it an "instant adolescent anthem". In her review of the EP Sex, Shaina Pearlman of Paste said the song is instrumental in demonstrating the 1975's strengths; she was favourable toward the track's hooks and pop-influenced production, deeming it "the kind of song that makes people—and perhaps major labels—take notice". Reviewing the EP for Hit the Floor Magazine, Amy Jones declared "Sex" the set's standout song, commending the prominence of Healy's vocals and the track's subdued production, which she said allows the band to showcase their "incredible instrumental work". In a ranking of the 1975's ten best songs, NME listed the original version of "Sex" at number three; the list's curator, Tom Connick, lauded its "rough-edged brilliance", Americanised pop-punk production elements and the hook's nostalgic teenage sentiment, commenting it is "punky, youthful and laced in a cheeky charm". Andy Gill of The Independent and Digital Spy writer Lewis Corner declared "Sex" a highlight from The 1975, with the former describing it as an "infectious pop thrill". Pitchfork's Jayson Greene opined that the song is a "a perfect Jimmy Eat World mall-emo anthem" and deemed it the band's best track. Vulture included "Sex" in the publication's unranked list of the 10 Essential 1975 Songs; Larry Fitzmaurice compared it to Jimmy Eat World and LCD Soundsystem's "All My Friends" (2007) while writing that retrospectively, the song acts as a "a practical blueprint for the type of passionate, immediately catchy melodies" which Healy would later employ in the band's future releases. Caryn Ganz of Rolling Stone compared the track to the work of the Killers—specifically their song "Somebody Told Me" (2004)—and "All My Friends", calling it a "would-be smash". The Line of Best Fit's Laurence Day commented that "Sex" is evocative of the Killers' sound and complimented the updated production, which he deemed "fresher" than the original. In contrast, the editorial staff of idobi were ambivalent toward the updated album version of the song, opining that Healy's vocals sounded too Americanised and unrecognisable from the original version. Ray Rahman of Entertainment Weekly and Paste writer Hilary Saunders called the track "radio-friendly". Writing for Gigwise, Chloe Ravat commended Healy's vocals and the production of "Sex", writing: "It deserves a massive stadium to really do it justice." AllMusic writer Matt Collar said the song "drive[s] and climb[s] like the best anthemic '80s stadium rock" and commended its distillation of various influences into a single distinct sound, which he credits to delivering a "timeless" track. DIY's Emma Swan praised the couplet, "she's got a girlfriend anyway", deeming it both the most memorable point on the album and the track's only decipherable line. In the 1975's native United Kingdom, "Sex" peaked at number 34 on the UK Singles Chart and number 23 on the UK Indie Chart, and was later certified gold by the British Phonographic Industry (BPI), denoting combined sales and streams of over 400,000 certified units in the UK. Elsewhere in Europe, the song reached number 68 on the Belgian Ultratip Flanders chart. In the United States, the track peaked at number 35 on the Billboard Alternative Airplay chart, and was later certified gold by the Recording Industry Association of America (RIAA), denoting combined sales and streams of over 500,000 certified units in the US. ## Music video Prior to their formation as the 1975, the band recorded a music video featuring an acoustic rendition of "Sex" in late 2009. The visual was released under the 1975's former monicker Drive Like I Do. A black and white music video, directed by James Booth, was released on 5 October 2012. A video, directed by Adam Powell and set to the album version of the song, was released on 26 July 2013. Eschewing their signature black and white aesthetic, Healy called the shift toward colour "a massive step for [the band]". The singer also praised the "passion" and "understanding" of Powell, whom he described as a "true collaborative spirit" that led them to film the visual in Los Angeles. Regarding the overall development of the music video, Healy said: "As a video, 'Sex' feels very uncompromised, unpredictable and from a artistic viewpoint, very honest. That is always our main goal as a band. We are very proud of it." The music video for the album version of "Sex" contains themes of love, crime, performance and sex. The visual centres around a pair of teenage lovers partying and taking drugs. Featuring sex scenes, smoking out of bongs, acid tripping and skinny dipping, the video was deemed NSFW by Sarah Bella of Music Feeds and the editorial staff of Variance. Idolator writer Mike Wass called the visual "eye-popping" and compared it to the music videos of Robin Thicke, deeming it "music video porn". Described as "naughty stuff" by Gigwise's Michaels Baggs, Fleischer said the video serves as "visual proof of how far the band has come". The reaction from the 1975's fanbase was mixed, with some expressing their disappointment in the band's decision to film the video in colour. Regarding the fan reaction, Healy said: "I think what that is, is kids reinstating how cool they are and showing people that they saw us first. I get that. That's totally cool." ## Charts ## Certifications ## Credits and personnel Credits adapted from Sex and The 1975 album liner notes. Recorded at Rose Cottage in Wilmslow, Cheshire, England - Matthew Healy – composer, guitar, piano, vocals, producer - George Daniel – composer, programming, drums, synthesizer, producer - Adam Hann – composer, guitar, producer - Ross MacDonald – composer, bass guitar, producer - Michael Coles – producer (EP version) - Robert Coles – producer (EP version) - Mike Crossey – producer, additional producer (EP version), mixer - Robin Schmidt – mastering engineer ## See also - The 1975 discography - List of songs by Matty Healy

Mega Man 6

1993 video game

Mega Man 6, known in Japan as , is an action-platform video game developed by Capcom for the Nintendo Entertainment System. It is the sixth installment in the original Mega Man series. It was originally released in Japan by Capcom in 1993, and in North America by Nintendo in 1994. It was included in the Mega Man Anniversary Collection released in 2004. Its first release in Europe and PAL region was June 11, 2013, for the 3DS Virtual Console, nearly twenty years after the game's initial release. The story of Mega Man 6 opens during a competitive robot fighting tournament with entrants from all around the globe. A villainous figure known as "Mr. X" announces he has reprogrammed the eight powerful finalists with the intent to use them for taking over the world. The game's robotic protagonist Mega Man, who was sent to oversee the tournament, springs into action to foil X's plot. Mega Man 6 plays nearly identically to its five predecessors with a few added features such as stages with alternate pathways and new Rush adaptors. Mega Man 6 is the first game in the series to receive character design input from fans outside Japan. This late-era game was also the last in the series released on Nintendo's 8-bit console, and the last game in the series with an 8-bit graphics style until Mega Man 9 in 2009. Due to the declining support of the NES and the growing presence of the newer and more powerful Super Nintendo Entertainment System (SNES), Capcom decided not to publish Mega Man 6 in North America, so it was released by Nintendo in North America. The game received positive reviews, with critics praising the gameplay and use of the established gameplay model from preceding chapters in the series, though it was criticized for not innovating much compared to its predecessors. It was followed up with Mega Man 7, released for the SNES in 1995. ## Plot Mega Man 6'''s story takes place after the events of Mega Man 5. To counter Dr. Wily's repeated attacks, the Global Robot Alliance was formed, and one year later the "First Annual Robot Tournament" is held in order to determine the world's strongest peacekeeping robot. The tournament is hosted by a man known only as "Mr. X," the leader of the mysterious "X Foundation" and many strong robots participate. Dr. Light, a pacifist, decides not to enter the competition, but sends the robotic hero Mega Man to supervise it. Before the event can begin, however, Mr. X announces that he has reprogrammed eight of the strongest contestants to do his bidding in taking over the world: Blizzard Man, Centaur Man, Flame Man, Knight Man, Plant Man, Tomahawk Man, Wind Man, and Yamato Man, and tells Mega Man he had been manipulating Dr. Wily from the beginning. Following this, Mega Man and Rush set out to put an end to Mr. X's plan. Mega Man destroys the eight Robot Masters, then makes his way to Mr. X's fortress. The villain is beaten and quickly reveals himself as none other than a disguised Dr. Wily. The evil scientist flees to a new fortress stronghold where Mega Man pursues and defeats him again. The game ends with Dr. Wily finally brought to justice and sent to prison. ## Gameplay The gameplay in Mega Man 6 is largely similar to its five NES predecessors. The player takes control of Mega Man to complete a series of side-scrolling platform stages littered with smaller robot enemies and occasional larger mini-bosses. The player's primary method of attack is the "Mega Buster" cannon, which can be charged for more powerful shots. At the end of each of the initial eight stages is a boss battle, where the player inherits that Robot Master's unique "Master Weapon" if successful. These eight levels can be completed in any order, although all Robot Masters are weak to a specific Master Weapon, adding an element of strategy to the order chosen by the player. The player's health is represented by a gauge that can be refilled by picking up energy pellets. Extra lives, reserve energy tanks, and pellets that refill Master Weapon power can also be found throughout each level. Mega Man 6 introduces the "Energy Balancer", which automatically refills the weapon with the lowest energy when picking up Master Weapon power. Previous Mega Man games typically allowed the player to call on the transformable dog Rush or use other support items in order to traverse difficult or otherwise inaccessible parts of a stage. Mega Man 6 instead features a pair of "Rush Adaptors" that fuse Mega Man and Rush into special forms. The first, "Jet Mega Man", lets the player fly upward or hover for a brief period of time, but prevents the use of charge shots. The second, "Power Mega Man", utilizes a powerful, short-range punch attack for destroying large blocks. The player cannot slide when using either adapter. Mega Man 6 also presents less linear ways to complete the stages than in previous entries in the series. There are two pathways in many of the stages that lead to boss rooms, but the player is often required to use one of the Rush adaptors to begin an alternate route. Although either one will clear the stage, only one of them will give the player a letter circuit board for assembling the helper bird Beat. Collecting all four parts will allow the player to call on Beat to attack enemies. ## Development Mega Man 6 was developed at the same time as the franchise's first spin-off, Mega Man X for Nintendo's newer console, the Super Nintendo Entertainment System. Series artist Keiji Inafune, credited as "Inafking", stated that having a video game franchise with six titles is very rare, and one of the advantages to this is that players expect certain aspects of each game to be repeated in the next. After having implemented so many different mechanics to the gameplay of past entries, Inafune thought that Rush adaptor assembly was inevitable. The artist struggled with the adaptor designs and ultimately found them to be unrealistic. According to Inafune, "If you think about it, they shouldn't be able to combine like this. It would be awkward if parts of Rush like his neck were left over after they combined, so what was I supposed to do?" The Robot Masters featured in some of the previous Mega Man games were the result of design contests held in Japan, in which fans of the series would submit their character ideas to Capcom. Keeping with the tradition, Japan held a design contest for Mega Man 6. After the release of Mega Man 5, the magazine Nintendo Power held a similar contest in North America. Only eight out of the more than 200,000 worldwide character submissions for Mega Man 6 were accepted for the game. Six of the Robot Masters were designed by Japanese fans, while the remaining two (Knight Man and Wind Man) were designed by North American fans who entered the Nintendo Power contest. The North American cover of the game pays homage to the two designers by featuring their Robot Masters on it. Inafune admitted that it was stressful when the last characters being designed for the game were not meeting with the development team's schedule. He concluded, "For having hit a lot of roadblocks, I feel like we got a lot done for 6. The theme for our designs was 'The world is our stage,' and I really enjoyed bringing what I felt was the unique flavor of different countries into the game." Yuko Takehara, credited as "Yuko", composed the musical score for Mega Man 6. Takehara collaborated with several other composers for the follow-up Mega Man 7 in 1995. A few months after the publication of Mega Man 5, Capcom announced the sixth installment in the original series, as well as Mega Man Soccer and Mega Man X for the SNES, making Mega Man 6 the last title in the franchise to be released on the 8-bit NES. Capcom chose not to publish the game outside Japan. Instead, Nintendo of America published it in March 1994. Before the NES era in North America was about to end, Nintendo of America made a plan to help sell it along with Zoda's Revenge: StarTropics II and the NES version of Wario's Woods, which were also published by Nintendo in North America during the same time. Their plan was to release the top-loading NES-101 for a retail price of \$49.99 to attract consumers to buying the updated version of the original NES along with one or more new titles for the console, including Mega Man 6. The game was also showcased alongside Mega Man X at the 1994 Winter Consumer Electronics Show in Las Vegas. Mega Man 6 was re-released for the PlayStation in 1999 as part of the Rockman Complete Works series exclusive to Japan. This version of the game features a number of extras including remixed music, artwork galleries, and a "navi mode" to help guide players. A port of the Complete Works edition was released on the North American-exclusive Mega Man Anniversary Collection for the PlayStation 2 and GameCube in 2004 and Xbox in 2005. Mega Man 6 was released on Japanese mobile phones via the i-mode service in 2007. While the first five Mega Man games are available on the Wii's Virtual Console, Mega Man 6 is absent from the Wii Shop Channel; however, the game was released via the Nintendo 3DS Virtual Console in Japan and Europe, with North America on June 20, 2013. It was also released via the Wii U Virtual Console in Japan on May 14, 2014, in Europe on July 24, 2014 and in North America on August 21, 2014. ## Reception and legacy Mega Man 6 has enjoyed a favorable reception from gaming publications and websites. The graphics, play control, challenge level, and added power-ups were generally praised. GamePro was impressed with some of the newer enemies and larger mid-stage bosses, but was displeased with the game's recycling of Master Weapons seen in previous Mega Man games. Overall, the magazine described the graphics, audio, and level design in Mega Man 6 as standard fare for the franchise and called the game a "rock of reliable NES fun" in a series that is as "predictable as the tide". Destructoid editor Tony Ponce considered Mega Man 6 the best game in the entire series. He argued that the game "was retro before retro was cool" due to Capcom's decision to develop it as a higher profile game on the NES during the era of fourth generation consoles. He also expressed appreciation for its music, introductions for each Robot Master, and the use of branching pathways in each level, among many other reasons. Nintendo Power listed Mega Man 6 as the best NES game of 1993, stating, "His sixth NES adventure, in which he uses two new, Special Power-Ups, might just be his best". Craig Skistimas of ScrewAttack also appreciated these innovations and regretted missing out on the game when it was first released. Mega Man 6 is listed by IGN as the 58th best game on the NES. The writers summarized, "Mega Man 6 is considered by many to be the last worthwhile NES release in the catalog, and though that's not saying much when looking at the title's contemporaries, Mega Man 6 is still as good as it gets in many respects." Mega Man 6 is occasionally seen as "redundant" to the series. GameSpot editors Christian Nutt and Justin Speer labeled Mega Man 6 the "cheesiest" among the NES titles: "If you're looking for mega-laughs, you might want to try this one out." 1UP.com contributors likewise found that the game's "inane" storyline and villains both insult fans of the series and outweigh the game's good soundtrack and interesting power-ups. The four members of the Electronic Gaming Monthly review panel all voiced similar opinions regarding the game's familiar 8-bit presentation and its addition to the already repetitive nature of the series. One reviewer commented, "OK, Mega Man was fun and original back in the days when the letters 'N E S' meant something. Now the game is just getting redundant. Oh sure, Mega Man may learn a few new tricks here and there but this series has to end soon." Elements of the game made their way into the Mega Man series from Archie Comics prior to it going on indefinite hiatus. Some notable liberties were taken, such as introducing Dr. Pedro Astil, a creator character for Plant Man, and introducing the X Foundation (renamed the X Corporation) at the conclusion of the Mega Man 3 adaptation. The latter concept notably featured Mr. X as a separate character from Dr. Wily and as a future version of Xander Payne, a character exclusive to the comics who became involved in time travel after being part of an anti-robot extremist group known as the Emerald Spears. A view of the events of Mega Man 6 in the series' final issue prior to the hiatus hinted as Xander's overthrow and Wily's seizure of his resources and alias. The X Corporation's resources also provide Wily with the means of laying the groundwork for other schemes, including the abduction of Kalinka Cossack leading into Mega Man 4. Its membership was shown to include numerous identically costumed grunts and Madame Y, a character based on an "alternate universe" concept by former Capcom and Mega Man'' artist Hideki Ishikawa.

Connor Hamlett

American football player (born 1992)

Connor Hamlett (born April 12, 1992) is a former American football tight end. He lettered in football, basketball and track at Meadowdale High School in Lynnwood, Washington, where he earned All-State honors in football his senior year. He played college football at Oregon State, recording career totals of 104 receptions for 1,109 yards and 10 touchdowns. He finished third in school history in receptions for a tight end and fifth in receiving yards for a tight end. He was named Pac-12 All-Academic second-team his junior season in 2013 and Pac-12 All-Academic first-team his senior season in 2014. Hamlett signed with the Jacksonville Jaguars after going undrafted in the 2015 NFL Draft, and has since been a member of the Philadelphia Eagles, New Orleans Saints, Cleveland Browns, Dallas Cowboys, Arizona Hotshots, and Seattle Dragons. ## Early years Hamlett was a three-year letterman in football at Meadowdale High School in Lynnwood, Washington as a tight end. He earned second-team All-WesCo League 3A honors his junior season. He recorded 43 receptions for 648 yards and six touchdowns his senior year, earning second-team All-State, Associated Press Class 3A honorable mention All-State, and first-team All-WesCo League 3A honors. He also played defensive end his senior year, which was his first year playing on the defensive line. Meadowdale High finished with an 11–1 record his senior year; winning the first 11 games before losing in the Class 3A state quarterfinals. He was selected to participate in the 2010 Class 3A/4A East–West All-Star Football Game as part of the West Team but chose not to play in the game. In addition to lining up at the normal tight end spot, Hamlett was also used split out wide at the wide receiver spot while at Meadowdale. He was also a three-year letterman in basketball. He earned second-team All-WesCo South honors his junior year in 2008–09 as Meadowdale won a share of the WesCo South title, won the 3A District 1 title and also finished sixth in the Class 3A state tournament. He was team co-captain his senior year and garnered first-team All-WesCo South accolades after averaging 19 points and 10 rebounds. In the 2010 Class 3A state boys basketball tournament, Hamlett averaged 24 points and 10 rebounds per game and earned first-team All-Tournament honors as Meadowdale High finished in fifth place. The team also finished second in the 3A District 1 tournament and second in the WesCo South. He was named The Herald'''s 2010 All-Area Boys Basketball Player of the Year. He earned two letters in track as well. He graduated from Meadowdale High School in 2010. In the class of 2010, Hamlett was rated a two-star football recruit by Rivals.com, Scout.com and ESPN.com. He was also rated the No. 99 tight end in the country by Scout.com, and the No. 50 tight end in the country by ESPN.com. He was also rated both a three-star recruit and the No. 83 tight end in the country on 247Sports.com's composite rating, which takes into account the ratings of all the other major recruiting services in the country. In February 2009, Scout.com released its 2010 Northwest Fab 50 ranking, which rated the top 50 football players in the Northwest graduating in 2010. Hamlett was rated No. 33 and listed as a wide receiver. He committed to Oregon State in February 2010. He also received an offer from Washington State. When Hamlett committed to Oregon State in February, the team offered him a grayshirt, which he accepted. In March, it was reported that Hamlett was not grayshirting as originally planned and was instead walking-on in 2010 and going on scholarship after the season. However, in August 2010, it was reported he had been given a scholarship. Hamlett's brother, Casey, played football at Western Washington from 2007 to 2008 and at Washington State from 2009 to 2010. ## College career Hamlett played as a tight end for the Oregon State Beavers of Oregon State University from 2011 to 2014. In 2010, he was redshirted and shared the offensive scout MVP award with Tyler Anderson. He majored in business management at Oregon State. He played in 11 games in 2011 and earned Pac-12 All-Academic Honorable Mention honors. He appeared in 13 games, starting 7, in 2012. He caught 32 passes for 403 yards and 3 touchdowns. He also earned Pac-12 All-Academic Honorable Mention honors for the second straight year. Hamlett played in 11 games, starting 10, in 2013. He caught 40 passes for 364 yards and 5 touchdowns. He garnered All-Pac-12 Honorable Mention honors and Pac-12 All-Academic second-team honors. He missed two games due to knee problems. He had three minor knee surgeries during and after his junior season: one in October, one after the final regular season game and one after the team's bowl game. In July 2014, he was named to the watchlist for the John Mackey Award, which is given to the best tight end in college football. On October 13, 2014, he was named to the midseason watchlist for the John Mackey Award. He played in 12 games, all starts, in 2014 and totaled 32 receptions for 342 yards and 2 touchdowns. He earned Pac-12 All-Academic first-team honors. He reportedly played his senior season "at about 80 percent" due to knee pain and other issues. Hamlett played in 47 games, with 29 starts, during his college career. He recorded career totals of 104 receptions for 1,109 yards and 10 touchdowns. He was the fifth Oregon State tight end to record at least 1,000 career receiving yards. His 104 receptions were third most in school history for a tight end and his 1,109 receiving yards were fifth most in school history for a tight end. ## Professional career In a January 2015 story with The Herald, it was reported that Hamlett was retiring from football due to knee problems. Hamlett said that "after the season I decided it was time to hang it up. I didn’t want to be in pain every day. I felt like it was time to move on and live a normal life." He also said, "I’m sure I’ll wish I was still out there playing." In a story with The Florida Times-Union'' shortly after signing with the Jacksonville Jaguars, Hamlett said, "I just took some time off because I was banged up" and that "I love the game of football, and I wanted to play. The whole [story] kind of got blown out of proportion." He had previously returned to training and began feeling 100 percent in early March. Due to his break, he did not participate in the 2015 NFL Combine or Oregon State's Pro Day. Hamlett was rated the 31st best tight end in the 2015 NFL Draft by NFLDraftScout.com. Lance Zierlein of NFL.com projected that he would go undrafted and be a priority free agent. Zierlein stated that Hamlett was "Stiff, with limited athleticism" and that he "must improve his play strength at the point of attack and make his way as a blocking tight end to have a shot". ### Jacksonville Jaguars Hamlett was signed as an undrafted free agent by the Jacksonville Jaguars after the 2015 NFL Draft on May 3. He was released by the Jaguars on August 29. He signed with the Jaguars on September 2 and was released by the team on September 4, 2015. ### Philadelphia Eagles He was signed to the Philadelphia Eagles' practice squad on September 16, 2015. He was released by the Eagles on September 21, 2015. ### New Orleans Saints Hamlett was signed to the New Orleans Saints' practice squad on September 23, 2015. He was released by the team on October 6, 2015. ### Cleveland Browns Hamlett was signed to the Cleveland Browns' practice squad on December 8, 2015. He signed a reserve/future contract with the team on January 5, 2016. He was released by the Browns on September 3 and was signed to the team's practice squad on September 4. He was promoted to the active roster on October 4. He made his NFL debut, and first career start, against the New England Patriots on October 9 and recorded one reception, a 17-yard touchdown pass from Charlie Whitehurst. The Browns waived Hamlett on October 31. He was re-signed to the practice squad on November 2, 2016. He played in 3 games, starting 2, during the 2016 season and caught 1 pass for a 17-yard touchdown. ### Dallas Cowboys Hamlett signed a reserve/future contract with the Dallas Cowboys on January 16, 2017. He broke his fibula during a preseason game against the Los Angeles Rams on August 12. The injury was reported as possibly being season-ending. He was waived/injured on August 15, and placed on injured reserve on August 16. He was released on August 24, 2017, after reaching an injury settlement. ### Arizona Hotshots In 2018, Hamlett signed with the Arizona Hotshots of the Alliance of American Football. The league ceased operations in April 2019. He appeared in 8 games (one start), making 5 receptions for 40 yards. ### Seattle Dragons In October 2019, Hamlett was selected by the Seattle Dragons during the 2020 XFL Draft's open phase. In March, amid the COVID-19 pandemic, the league announced that it would be cancelling the rest of the season. Playing in all 5 games, he had 4 receptions for 35 yards. He had his contract terminated when the league suspended operations on April 10, 2020.

Oklahoma State Highway 108

Highway in Oklahoma

State Highway 108 (abbreviated SH-108) is a minor state highway in Payne, Noble, and Pawnee counties in north-central Oklahoma. It runs for 24.1 miles (38.8 km), from SH-33 south of Ripley to U.S. Route 64 (US-64) in Lela. It has no lettered spurs. SH-108 was added to the state highway system on July 11, 1955. It had the same extent it does today; only slight modifications have been made to its alignment due to the straightening of connecting highways. ## Route description SH-108 begins in Payne County approximately halfway between Perkins and Cushing at SH-33. From here, the highway runs north on Ripley Road. About two miles (3.2 km) into its journey, the road passes through the town of Ripley (pop. 444). North of Ripley, it crosses the Cimarron River. Seven miles (11 km) later, the highway intersects SH-51, and SH-108 turns west along it, forming a one-mile (1.6 km) concurrency. SH-108 then continues north on Rose Road. Approximately eight miles (13 km) north of SH-51, SH-108 enters Glencoe (pop. 583). The highway then crosses the Cimarron Turnpike on a grade separation with no interchange. The highway shifts to the east about one mile (1.6 km) north of Glencoe. Upon exiting Payne County, the highway straddles the Noble–Pawnee County line all the way to its terminus at US-64 in the unincorporated settlement of Lela. As of 2012, the highest average annual daily traffic (AADT) count along SH-108 was 5,900, measured along the concurrency with SH-51. The highest traffic volume on SH-108 alone was an AADT of 1,900, measured north of SH-51. The lowest AADT measured was 1,500, which occurred both in Glencoe and south of Ripley. No part of SH-108 has been designated as part of the National Highway System. ## History SH-108 was first designated on July 11, 1955. The highway was mostly gravel at that time; only the portions from the southern terminus to Ripley and the concurrency with SH-51 were paved. In 1960, the section of SH-108 between SH-51 and Glencoe was paved. In 1963, the paved segment extended north of Glencoe, to the highway's northern terminus. The first change to the highway's alignment occurred on November 1, 1966, when SH-51 was straightened between Stillwater and Yale; SH-108 was realigned to continue to concur with SH-51. Around the same time, the remainder of SH-108 was paved. The final change to SH-108 was made on June 4, 1974, when a straightening of SH-33 resulted in a slight extension of SH-108 to continue to meet the new highway. No changes have been made since. ## Junction list

Corporate Crush

"Corporate Crush" is the nineteenth episode of the first season of the American television series 30 Rock. It was written by co-executive producer John Riggi and directed by Don Scardino. The episode originally aired on NBC in the United States on April 12, 2007. Guest stars in this episode include Kevin Brown, Grizz Chapman, John Lutz, Emily Mortimer, Maulik Pancholy, Jason Sudeikis, and Rip Torn. In this episode, Liz Lemon (Tina Fey), who is now in a happy relationship with Floyd DeBarber (Sudeikis), becomes annoyed when Jack Donaghy (Alec Baldwin) seemingly becomes obsessed with Floyd. Jack begins a relationship with Phoebe (Mortimer), after being demoted. Meanwhile, Tracy Jordan (Tracy Morgan) pitches his movie, Jefferson, to General Electric CEO Don Geiss (Torn). "Corporate Crush" received generally positive reviews from television critics, with Robert Canning of IGN describing it as "solid". According to the Nielsen ratings system, the episode was watched by 5.1 million households during its original broadcast. Griffin Richardson, the episode's sound mixer, received a Creative Arts Emmy Award nomination in the category for Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) and Animation. ## Plot Liz (Tina Fey) has become very happy since dating Floyd (Jason Sudeikis), and their relationship together is going strong. Don Geiss (Rip Torn), the CEO of General Electric, speaks to Jack (Alec Baldwin) about his career, and points out that Jack is the only executive at his level to be unmarried. Geiss takes away Jack's role as the head of the Microwave Oven division, which makes Jack become extremely depressed. Liz decides that she wants Jack to meet Floyd at dinner, although Jack becomes obsessed with Floyd and becomes a third wheel in Liz and Floyd's relationship. Liz, extremely bothered by Jack's obsession, tells Jack to leave Floyd alone. Jack agrees, and he tells Liz that he has begun a relationship with Phoebe (Emily Mortimer), a Christie's auction house art dealer who has Avian Bone Syndrome and on their third meeting still greets Liz with "Hi, I'm Phoebe, I don't know if you remember me..." Jack asks Liz's approval in his relationship with Phoebe, and when Liz grants it, he immediately proposes to Phoebe. Meanwhile, Tracy (Tracy Morgan) tries to get Don Geiss to finance his film, Jefferson, which is based on Thomas Jefferson's life. However, Geiss is not interested in Tracy's \$35 million project, even after Tracy uses NBC page Kenneth Parcell (Jack McBrayer), Grizz Griswold (Grizz Chapman) and "Dot Com" Slattery (Kevin Brown) to put together a trailer for the film. After failing to convince Geiss, who would rather see him do a sequel to one of Tracy's previous films, Fat Bitch, Tracy decides that he will make Jefferson on his own. ## Production "Corporate Crush" was written by co-executive producer John Riggi and directed by Don Scardino. This was Riggi's third writing credit, having written the episodes "Blind Date" and "The Head and the Hair", and was Scardino's fifth directed episode. "Corporate Crush" originally aired on NBC in the United States on April 12, 2007 as the nineteenth episode of the show's first season and overall of the series. Comedian actor Jason Sudeikis, who played Floyd DeBarber in this episode, has appeared in the main cast of Saturday Night Live, which Fey worked for from 1997–2006. This episode was Sudeikis' fifth appearance on 30 Rock. This was actress Emily Mortimer's first appearance as the character Phoebe. She would later guest star in the episodes "Cleveland" and "Hiatus", the latter being her final guest spot. Mortimer told The Philadelphia Inquirer, "It was amazing doing telly. I'd never done a sitcom before and it was so fast. You're given dialogue as you're walking onto the set and it's kind of hairy. There are 10 people standing around watching the monitor and if they don't laugh – then instead of having another chance to do it – someone writes another line." Actor Rip Torn made his second appearance as GE CEO Don Geiss in "Corporate Crush". Torn previously appeared in the February 15, 2007, episode "The C Word". ## Reception In its original American broadcast, "Corporate Crush" was watched by an average of 5.1 million households, according to the Nielsen ratings system. This was a decrease from the previous episode, "Fireworks", which was watched by 5.4 million American viewers. "Corporate Crush" achieved a 2.6/7 in the key 18- to 49-year-old demographic. The 2.6 refers to 2.6% of all people of ages 18–49 years old in the United States, and the 7 refers to 7% of all people of ages 18–49 years old watching television at the time of the broadcast in the United States. Since airing, the episode has received generally positive reviews. IGN contributor Robert Canning wrote that "Corporate Crush" was a "solid episode", and that 30 Rock seemed "to have hit its storytelling stride". He added that "as we near the season finale, we're happy to see that 30 Rock has begun their drive towards a big finish." Canning rated this episode an 8 out of 10. TV Guide's Matt Webb Mitovich opined that "though the 'My guy friend is dating my boyfriend' gag has been done to death on TV sitcoms, 30 Rock is to be forgiven if only because the same episode gave us a preview of, no, not The Real Wedding Crashers [Groan], but Jefferson, starring ... Tracy Jordan." Julia Ward of TV Squad awarded this episode with 5 out of 7, and said that Jenna Maroney's (Jane Krakowski) absence was upside to the episode, explaining, "I actually like Jane Krakowski, but I can't say that I've missed her". Regarding Jack and Liz's relationship in the episode, Ward thought it was an "uneasy mutual respect thing", which she thought let "Alec Baldwin exercise his thespian prowess". However, Ward said that she did not watch 30 Rock for the continuing storylines, rather, she watched the series for the "wacky". Griffin Richardson, the series' sound mixer, was nominated for a Creative Arts Primetime Emmy in the category for Outstanding Sound Mixing for a Comedy or Drama Series (half-hour) and Animation. Richardson, however, lost to Steve Morantz of Entourage, and Joe Foglia of Scrubs.

Tropical Storm Hermine (1980)

Atlantic tropical storm in 1980

Tropical Storm Hermine caused significant flooding in Mexico during September 1980. The eleventh tropical cyclone and eight named storm of the 1980 Atlantic hurricane season, Hermine developed from a tropical wave that emerged into the Atlantic from the west coast of Africa on September 11. After uneventfully crossing the Atlantic Ocean, the system developed a well-defined circulation while in the Caribbean Sea on September 20 and was then classified as a tropical depression. After becoming a tropical cyclone, the depression steadily strengthened as it tracked nearly due westward. By September 21, it strengthened into Tropical Storm Hermine and brushed the northern coast of Honduras shortly thereafter. It nearly became a hurricane before it made landfall in Belize on September 22. After weakening over the Yucatan Peninsula, Hermine restrengthened to near-hurricane status again over the Gulf of Mexico before making landfall in the Mexican state of Veracruz. Hermine steadily weakened inland and eventually dissipated on September 26. In Belize, the storm knocked out communications, though damage in that country was minimal. Heavy rainfall in Guatemala triggered landslides, causing eight fatalities. Additionally, portions of the Pan-American Highway were shut down due to flooding. In Mexico, many areas reported at least 10 inches (250 mm) of precipitation, while a few locations experience more than 30 inches (760 mm) of rain. At the capital city of Mexico City, ten districts reported significant street flooding. As a result of torrential rainfall, at least 30 fatalities occurred, with dozens more missing, and leaving 25,000 homeless. However, no estimates of damage associated with the storm were produced. ## Meteorological history A tropical wave emerged into the Atlantic from the west coast of Africa on September 11, though the system lacked a well-defined circulation. The tropical wave tracked westward for several days with minimal development, until reaching near the Lesser Antilles where a low-level cloud banding feature appeared, along with an increase in central convection. This suggested a possible low-level circulation, though an Air Force Reserve Flight on September 17 indicated little evidence of a circulation. On the following day, the system crossed the Lesser Antilles and entered the Caribbean Sea. As it passed near Jamaica on September 20, a low-level circulation became more apparent on satellite imagery. It is estimated that Tropical Depression Eleven developed at 1200 UTC on that day, while it was centered about 240 miles (390 km) south of Kingston, Jamaica. However, the National Hurricane Center did not initiate advisories until 2200 UTC on September 20. The depression tracked just north of due west, and by September 21, it was upgraded to Tropical Storm Hermine. Later on September 21, Hermine passed only 5 miles (8.0 km) offshore of northeast Honduras. An Air Force Reserve flight investigated if landfall occurred, though Hermine had remained offshore. After the storm moved to the northwest away from Honduras, it began to significantly strengthen. By September 22, maximum sustained winds had increased to 70 mph (110 km/h). Shortly thereafter, Hermine made landfall near Belize City at the same intensity. The storm weakened somewhat over the Yucatán Peninsula, and sustained winds were 50 mph (80 km/h) when Hermine emerged into the Bay of Campeche on September 23. The storm quickly began to re-strengthen as it tracked generally westward in the Gulf of Mexico. Although several computer models suggested a northward turn, Hermine drifted southwestward, possibly due to high terrain over Mexico. Hermine attained its peak intensity with winds of 70 mph (110 km/h) and a minimum pressure of 993 mbar (29.3 inHg) early on September 24, as measured by reconnaissance aircraft. After peak intensity, Hermine weakened slightly to a 65 mph (105 km/h) tropical storm. At 1200 UTC on September 24, the storm made landfall near Coatzacoalcos, Veracruz, Mexico. Hermine steadily weakened inland and by late 1500 UTC on September 25, it was downgraded to a tropical depression. Later that day, the National Hurricane Center noted that a low-level circulation could no longer be located, and by early on the following day, Hermine dissipated over the Mexican state of Oaxaca. ## Impact On September 21, the government of Belize issued a gale warning, as well as a hurricane watch, for most of the eastern coast of the country. It was canceled after Tropical Storm Hermine had moved inland. In eastern Mexico, an estimated 15,000 people evacuated from low-lying areas. Additionally, the Government of Mexico sent "advices" to "interests" in the Yucatan Peninsula. Officials in Mexico urged numerous residents along the southern Gulf of Mexico coast and surrounding states to evacuate prior to the storm's arrival. Timely warnings were later credited for reducing the loss of life. While crossing the southern Yucatán Peninsula, Hermine brought locally heavy rains and strong winds to eastern Mexico and much of Belize – then a colony of the United Kingdom. Between 9 and 10 inches (230 and 250 mm) of rain fell at the Philip S. W. Goldson International Airport. In Quintana Roo, more than 7 in (180 mm) of precipitation fell in localized areas, leading to floods. The storm also temporarily knocked out communication to all of Belize and Chetumal, Mexico. According to officials in the region, little damage took place during Hermine's passage. Heavy rains in Guatemala triggered landslides, killing at least eight people after crushing a bus. Portions of the Pan American Highway were shut down due to debris. Tropical Storm Hermine and the remnants caused heavy rainfall across along most of the southern and eastern parts of Mexico. Rainfall totals from Hermine peaked at 31.15 in (791 mm) in San Pedro Tapanatepec, Oaxaca. When the remnants of Hermine reached the Pacific coast of Mexico, several inches of rain were recorded. Throughout the country, the hardest hit areas were Veracruz, Oaxaca, Chiapas and Guerrero. More than 30 people were killed by the storm and dozens more left missing. Ten districts in Mexico City were brought to a standstill as flood waters blocked off streets. In the small towns of Cintalapa and Jiquiplan, flooding killed eight people and left twenty more missing. In addition to the loss of life, at least 25,000 residents were left homeless due to severe flooding. Two small dams broke due to excessive rains near Tuxtla Gutiérrez, prompting the evacuation of 2,000 residents in nearby areas. In response to the storm, an estimated 15,000 personnel were deployed to assist in relief efforts. ## See also - Tropical Storm Barry (2013) - Tropical Storm Harvey (2011) - 1980 Atlantic hurricane season - Other tropical cyclones named Hermine

Farthest-first traversal

Sequence of points far from previous points

In computational geometry, the farthest-first traversal of a compact metric space is a sequence of points in the space, where the first point is selected arbitrarily and each successive point is as far as possible from the set of previously-selected points. The same concept can also be applied to a finite set of geometric points, by restricting the selected points to belong to the set or equivalently by considering the finite metric space generated by these points. For a finite metric space or finite set of geometric points, the resulting sequence forms a permutation of the points, also known as the greedy permutation. Every prefix of a farthest-first traversal provides a set of points that is widely spaced and close to all remaining points. More precisely, no other set of equally many points can be spaced more than twice as widely, and no other set of equally many points can be less than half as far to its farthest remaining point. In part because of these properties, farthest-point traversals have many applications, including the approximation of the traveling salesman problem and the metric k-center problem. They may be constructed in polynomial time, or (for low-dimensional Euclidean spaces) approximated in near-linear time. ## Definition and properties A farthest-first traversal is a sequence of points in a compact metric space, with each point appearing at most once. If the space is finite, each point appears exactly once, and the traversal is a permutation of all of the points in the space. The first point of the sequence may be any point in the space. Each point p after the first must have the maximum possible distance to the set of points earlier than p in the sequence, where the distance from a point to a set is defined as the minimum of the pairwise distances to points in the set. A given space may have many different farthest-first traversals, depending both on the choice of the first point in the sequence (which may be any point in the space) and on ties for the maximum distance among later choices. Farthest-point traversals may be characterized by the following properties. Fix a number k, and consider the prefix formed by the first k points of the farthest-first traversal of any metric space. Let r be the distance between the final point of the prefix and the other points in the prefix. Then this subset has the following two properties: - All pairs of the selected points are at distance at least r from each other, and - All points of the metric space are at distance at most r from the subset. Conversely any sequence having these properties, for all choices of k, must be a farthest-first traversal. These are the two defining properties of a Delone set, so each prefix of the farthest-first traversal forms a Delone set. ## Applications `used the farthest-first traversal to define the farthest-insertion heuristic for the travelling salesman problem. This heuristic finds approximate solutions to the travelling salesman problem by building up a tour on a subset of points, adding one point at a time to the tour in the ordering given by a farthest-first traversal. To add each point to the tour, one edge of the previous tour is broken and replaced by a pair of edges through the added point, in the cheapest possible way. Although Rosenkrantz et al. prove only a logarithmic approximation ratio for this method, they show that in practice it often works better than other insertion methods with better provable approximation ratios.` Later, the same sequence of points was popularized by , who used it as part of greedy approximation algorithms for two problems in clustering, in which the goal is to partition a set of points into k clusters. One of the two problems that Gonzalez solve in this way seeks to minimize the maximum diameter of a cluster, while the other, known as the metric k-center problem, seeks to minimize the maximum radius, the distance from a chosen central point of a cluster to the farthest point from it in the same cluster. For instance, the k-center problem can be used to model the placement of fire stations within a city, in order to ensure that every address within the city can be reached quickly by a fire truck. For both clustering problems, Gonzalez chooses a set of k cluster centers by selecting the first k points of a farthest-first traversal, and then creates clusters by assigning each input point to the nearest cluster center. If r is the distance from the set of k selected centers to the next point at position k + 1 in the traversal, then with this clustering every point is within distance r of its center and every cluster has diameter at most 2r. However, the subset of k centers together with the next point are all at distance at least r from each other, and any k-clustering would put some two of these points into a single cluster, with one of them at distance at least r/2 from its center and with diameter at least r. Thus, Gonzalez's heuristic gives an approximation ratio of 2 for both clustering problems. Gonzalez's heuristic was independently rediscovered for the metric k-center problem by , who applied it more generally to weighted k-center problems. Another paper on the k-center problem from the same time, , achieves the same approximation ratio of 2, but its techniques are different. Nevertheless, Gonzalez's heuristic, and the name "farthest-first traversal", are often incorrectly attributed to Hochbaum and Shmoys. For both the min-max diameter clustering problem and the metric k-center problem, these approximations are optimal: the existence of a polynomial-time heuristic with any constant approximation ratio less than 2 would imply that P = NP. As well as for clustering, the farthest-first traversal can also be used in another type of facility location problem, the max-min facility dispersion problem, in which the goal is to choose the locations of k different facilities so that they are as far apart from each other as possible. More precisely, the goal in this problem is to choose k points from a given metric space or a given set of candidate points, in such a way as to maximize the minimum pairwise distance between the selected points. Again, this can be approximated by choosing the first k points of a farthest-first traversal. If r denotes the distance of the kth point from all previous points, then every point of the metric space or the candidate set is within distance r of the first k − 1 points. By the pigeonhole principle, some two points of the optimal solution (whatever it is) must both be within distance r of the same point among these first k − 1 chosen points, and (by the triangle inequality) within distance 2r of each other. Therefore, the heuristic solution given by the farthest-first traversal is within a factor of two of optimal. Other applications of the farthest-first traversal include color quantization (clustering the colors in an image to a smaller set of representative colors), progressive scanning of images (choosing an order to display the pixels of an image so that prefixes of the ordering produce good lower-resolution versions of the whole image rather than filling in the image from top to bottom), point selection in the probabilistic roadmap method for motion planning, simplification of point clouds, generating masks for halftone images, hierarchical clustering, finding the similarities between polygon meshes of similar surfaces, choosing diverse and high-value observation targets for underwater robot exploration, fault detection in sensor networks, modeling phylogenetic diversity, matching vehicles in a heterogenous fleet to customer delivery requests, uniform distribution of geodetic observatories on the Earth's surface or of other types of sensor network, generation of virtual point lights in the instant radiosity computer graphics rendering method, and geometric range searching data structures. ## Algorithms ### Greedy exact algorithm The farthest-first traversal of a finite point set may be computed by a greedy algorithm that maintains the distance of each point from the previously selected points, performing the following steps: - Initialize the sequence of selected points to the empty sequence, and the distances of each point to the selected points to infinity. - While not all points have been selected, repeat the following steps: - Scan the list of not-yet-selected points to find a point p that has the maximum distance from the selected points. - Remove p from the not-yet-selected points and add it to the end of the sequence of selected points. - For each remaining not-yet-selected point q, replace the distance stored for q by the minimum of its old value and the distance from p to q. For a set of n points, this algorithm takes O(n²) steps and O(n²) distance computations. ### Approximations A faster approximation algorithm, given by , applies to any subset of points in a metric space with bounded doubling dimension, a class of spaces that include the Euclidean spaces of bounded dimension. Their algorithm finds a sequence of points in which each successive point has distance within a 1 − ε factor of the farthest distance from the previously-selected point, where ε can be chosen to be any positive number. It takes time $O(n\log n)$. The results for bounded doubling dimension do not apply to high-dimensional Euclidean spaces, because the constant factor in the big O notation for these algorithms depends on the dimension. Instead, a different approximation method based on the Johnson–Lindenstrauss lemma and locality-sensitive hashing has running time $O(\varepsilon^{-2} n^{1+1/(1+\varepsilon)^2+o(1)}).$ For metrics defined by shortest paths on weighted undirected graphs, a randomized incremental construction based on Dijkstra's algorithm achieves time $O(\varepsilon^{-1} m\log n\log\tfrac{n}{\varepsilon})$, where n and m are the numbers of vertices and edges of the input graph, respectively. ### Incremental Voronoi insertion For selecting points from a continuous space such as the Euclidean plane, rather than from a finite set of candidate points, these methods will not work directly, because there would be an infinite number of distances to maintain. Instead, each new point should be selected as the center of the largest empty circle defined by the previously-selected point set. This center will always lie on a vertex of the Voronoi diagram of the already selected points, or at a point where an edge of the Voronoi diagram crosses the domain boundary. In this formulation the method for constructing farthest-first traversals has also been called incremental Voronoi insertion. It is similar to Delaunay refinement for finite element mesh generation, but differs in the choice of which Voronoi vertex to insert at each step. ## See also - Lloyd's algorithm, a different method for generating evenly spaced points in geometric spaces

North Philadelphia station

Railway station in Philadelphia, Pennsylvania, US

North Philadelphia station is an intercity rail and regional rail station on the Northeast Corridor, located on North Broad Street in the North Philadelphia neighborhood of Philadelphia, Pennsylvania, United States. The Southeastern Pennsylvania Transportation Authority's (SEPTA) Regional Rail Trenton Line and Chestnut Hill West Line account for most of the station's service. Four Amtrak trains – three southbound and one northbound – stop on weekdays only. The station opened in the 1870s and was known as New York Junction and Germantown Junction. A new station, which ushered in the Beaux-Arts style for large train stations, was built from 1896 to 1901. After a 1912–1915 enlargement, it was renamed as North Philadelphia. Despite several other renovations, its use declined in the mid and late 20th century; in 1991, Amtrak constructed a smaller replacement station across the tracks. The building was renovated once more in 1999 and is now used as commercial space. It was added to the National Register of Historic Places the same year. ## Layout and service Two high-level island platforms serve three of the four Northeast Corridor passenger tracks; there is a center passing track, as well as a fifth track on the south side that is only used by CSX and Norfolk Southern freights. Most SEPTA Trenton Line trains and four daily weekday-only Amtrak trains (one northbound and three southbound) stop at these platforms. Two low-level platforms, a short distance to the west, serve the diverging SEPTA-owned Chestnut Hill West Line. North Philadelphia has been a flag stop on the line since 1993. The station has relatively low inbound boardings; however, it is used by riders from the Chestnut Hill West Line transferring to SEPTA and Amtrak trains to reach jobs in New Jersey and New York. The station is within a few blocks of the North Broad station on SEPTA's Main Line (formerly belonging to the Reading Company), and the North Philadelphia subway station on SEPTA's Broad Street Line. ## History and architecture ### Germantown Junction The Pennsylvania Railroad (PRR) built the Connecting Railway in 1867 to connect its main line to the Philadelphia and Trenton Railroad. By the early 1870s, New York Junction station was established where the Connecting Railway crossed over the Philadelphia and Reading Railroad mainline in North Philadelphia. A signal tower, still extant, was constructed around this time. By the early 1880s, the PRR station was known as Germantown Junction, while the Reading had its 16th Street station a block to the northwest (and after 1890, Huntingdon Street station to the southeast). Germantown Junction station was a two-story Queen Anne style building located between the diverging lines; its large gables acted as shelters for passengers. ### A new station needed By the mid 1890s, the station was frequently overcrowded and North Philadelphia and the northern suburbs grew in population. The completion of the Delair Bridge in 1896 allowed passengers to ride trains directly to the summer resorts of southern New Jersey (rather than taking a ferry to Camden) further increased traffic on the line. George B. Roberts, president of the railroad, used his social connections to hire Theophilus Parsons Chandler Jr. to construct a new station. The new station was constructed on a former freight yard on the south side of the tracks (across from the previous station), where there was more space for the station. The site also provided better connections for passengers using newly electrified streetcars on Glenwood Avenue and North Broad Street to reach the station. Foundation construction began in May 1896. However, work was stopped when Roberts took ill in August; he died the next January. The Panic of 1896 led Roberts' successor, Frank Thomson, not to continue work. When Thomson died in 1899, Alexander Cassatt was recalled to the PRR to serve as president. Cassatt immediately began a major capital improvement program, which included both adding capacity to mainlines and constructing large stations including Washington Union Station and New York Penn Station. Work resumed in 1900 with an enlarged floor plan, and the new station was complete in April 1901. ### Architecture Previous PRR stations were generally in the picturesque eclectic style common among 19th-century railroads stations, like the Victorian eclectic Overbrook station and the Furness-style Broad Street Station. Germantown Junction was the first station along the Northeast Corridor to be constructed in the Châteauesque style, and it ushered in the Beaux Arts style used by the Pennsylvania and other railroads during the early 20th century. As constructed, the main facade of the station faced Glenwood Avenue. The two-story entrance loggia consisted of seven arched bays, with a three-bay wing to the northeast and a two-bay wing to the southwest, and acted as a transition point between the street and the station interior. The first floor (at track level) featured a large waiting room occupying the entire center block, with vault lights providing natural illumination and a fountain set into the western wall. Restrooms, a kitchen, and a cafe occupied the wings. The basement housed the boiler room, a smaller waiting room, kitchen storerooms, and baggage rooms. The station appears to have had two side platforms serving four tracks, accessed through a basement-level tunnel that was reached from the main waiting room by a staircase. The steep roof over the center block had several dormers, some of which were later removed. A covered ramp from the west wing, which had direct access from the south platform, led to a small trolley station on Glenwood Avenue. ### North Philadelphia After construction, the station served as the PRR's sole Philadelphia stop for most long-distance east-west Main Line traffic to avoid a reverse move into Broad Street Station (and later 30th Street Station). It also served local trains from Fort Washington, Chestnut Hill, Bustleton, and Trenton, as well as a variety of services from the PRR-owned West Jersey and Seashore Railroad system. Within a decade of completion, the station was already overcrowded. On June 22, 1912, the PRR signed a million-dollar contract for massive renovations to the station. Designed by PRR architect William H. Cookman, the modifications reflected the latest in passenger station design. The ground was lowered by a full story on the south and east sides of the station, exposing what had formerly been the basement to improve access for taxis and private automobiles. A marquee to shelter arriving and departing passengers spanned the seven central bays of the lower level, with a more ornate version on the north end of the pedestrian tunnel. The lower waiting room was expanded, a ticket office constructed, and a larger staircase to the main waiting room was built. The floor was covered with terrazzo and green marble, with white marble wainscoting on the walls. Three bays were added to the west wing for additional functional space, removing direct track access from the ramp. Cast iron streetlights with the PRR Keystone motif in their base were located around the driveway and grounds. The original side platforms were replaced with high-level island platforms, long enough to permit level boarding for twelve-car trains. The platforms and platform supports were constructed of cast-in-place concrete. The line was widened to eight tracks through the station, with the platforms between the 2nd and 3rd tracks and the 6th and 7th tracks. The center non-platform tracks were reserved for through freights, with the outside non-platform tracks used by local freights. Each platform had a 10-foot (3.0 m)-wide waiting room, 60 feet (18 m) long on the eastbound (south) platform and 80 feet (24 m) long on the westbound platform. The waiting rooms were covered in copper sheathing and had large skylights. The railroad constructed full-length steel platform canopies in their own shops. A separate baggage tunnel, west of the main passenger tunnel, connected with freight elevators to the platforms. When the renovations were complete in 1915, the station was renamed as North Philadelphia. ### Decline North Philadelphia continued to grow during the early 20th century as a popular residential area for the nouveau riche rejected by old money society. Two ballparks (the Baker Bowl and Shibe Park) were located nearby, as were new cultural institutions and automotive industry buildings. In 1928, the Broad Street Subway was opened with a station at North Philadelphia, offering more frequent service to Center City. Its northern entrances were located at the intersection of Glenwood Avenue and North Broad Street, with an underground passage offering an easy connection to the PRR station. The Reading Company replaced Huntingdon Avenue station with North Broad Street station, a massive Classical Revival structure rivaling the PRR station in grandeur. 30th Street Station opened in 1933, reducing North Philadelphia's importance for north-south services. However, North Philadelphia continued to serve heavy commuter traffic and east-west long-distance trains. An interior rearrangement was completed around 1942. The women's room for the main waiting room was moved from the east side to the west side, with one bay added to the west wing. A new dining area was constructed, occupying one-third of the waiting room, with its kitchen occupying the former bathroom space. The lunch cafe and staircases were also modified. After World War II, North Philadelphia suffered from the failure of its industries, and the PRR reduced both local and long-distance service due to competition from private autos, further reducing the importance of the station. Escalators and a new drop ceiling were added around 1955, the former due to the insistence of the city council. The surrounding parking lots and ground were rearranged in 1968. In 1977, after a fire in March 1976, Amtrak undertook a \$314,000 rehabilitation of the station. The roof and portico were rebuilt, two of the three dormers removed, new restrooms added, and the platform and waiting room repaired. The loggia, windows, and other openings were covered with cinderblocks and brick. ### New station and reuse In the 1980s, the city and Amtrak attempted to fund a second renovation with a private partner, but plans fell through. In 1991, Amtrak constructed a rectangular concrete and glass station building on the north side of the tracks, in front of the passenger tunnel. Access from the south was blocked off. In 1999, the original station building was renovated at a cost of \$7 million for use as commercial space. The front parking lot was expanded on a slope to the west; it covered much of the ground level (similar to the station before 1915). The mechanical building and the covered ramp to the trolley station were removed. A strip mall was built just to the east, with balustrades and archways referencing the historic station. The passageway from the subway station, long closed, was likely buried at this time. The 1901-built station building was listed on the National Register of Historic Places on July 8, 1999. The Amtrak ticket office was closed in April 2001 as part of austerity measures. Vandalism also forced the closure of elevators. The same year, SEPTA proposed closing the station because it served few inbound commuters. However, advocacy from the Delaware Valley Association of Rail Passengers, which showed that the station was more heavily used by commuters from the Chestnut Hill West Line changing to SEPTA Trenton Line trains and Amtrak Clockers to Trenton and New York, succeeded in persuading SEPTA to keep the station open for the time being. By 2005, no official decision had been made to permanently keep the station, but SEPTA planned repairs to the deteriorated platforms. In 2010, a renovation of North Philadelphia subway station was completed. This included restoring the Glenwood Avenue headhouses, closed for decades before, which improved connections to the mainline station.