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6,025,230 | NHL 96 | 1,158,260,073 | 1995 ice hockey video game | [
"1995 video games",
"Cancelled 3DO Interactive Multiplayer games",
"Cancelled Game Gear games",
"Cancelled PlayStation (console) games",
"DOS games",
"EA Sports games",
"Electronic Arts games",
"Game Boy games",
"High Score Productions games",
"Multiplayer and single-player video games",
"NHL (video game series)",
"Probe Software games",
"Sega Genesis games",
"Super Nintendo Entertainment System games",
"THQ games",
"Video games developed in Canada",
"Video games developed in the United States",
"Video games scored by Brian L. Schmidt",
"Video games scored by David Whittaker",
"Video games scored by Jeff van Dyck",
"Video games set in 1995",
"Video games set in 1996",
"Video games set in Canada",
"Video games set in the United States"
] | NHL 96 is a 1995 sports video game developed by EA Tiburon for the SNES, High Score Productions for the Sega Genesis, EA Canada for DOS, and Probe Entertainment for the Game Boy. EA Sports published all versions of the game except the Game Boy version, which was published by THQ. The game is based on the sport of ice hockey and puts the player in control of a hockey team in modes of play such as exhibitions, seasons and playoffs. It is the fifth installment in the NHL game series.
NHL 96 is the first entry in the series to feature real-time three-dimensional graphics through the DOS version's "Virtual Stadium" technology. The game also features improved and adjustable opponent artificial intelligence, a previously-barred ability to engage in physical fights, new moves such as the spin-o-rama, and general enhancements to the visual animations and audio. NHL 96 was met with critical acclaim, with reviewers commending the game's improved opponent AI, fluid graphics, and added gameplay features.
## Gameplay
NHL 96 puts the player in control of either accurate real-life hockey team rosters from the 1994–95 NHL season or customized teams and players. As one of any given player, the controlling player can skate about the rink and stick-handle the puck in any direction, and can move with a short burst of speed with a certain input. When on the offensive, the player can dump the puck into the opposing team's zone, pass the puck to another player, take or fake shots, and execute a spin-o-rama. When on the defensive, the player can hold or hook, hit the ice to block shots, poke check, and body check. Goalies can be manually or automatically controlled, the state of which can be toggled in the main menu. Manually-controlled goalies can dive, poke check, and make save attempts. The player takes control of their goalie if they have saved the puck regardless of the manual or auto setting. In this stage, the player can either flip the puck out of their team's zone, pass to an open teammate, clear the puck along the boards, or draw a face-off by avoiding any input, at which point the referee will blow his whistle and call the puck dead. The skill level of computer-controlled opponents can be adjusted to "Rookie", "Pro" or "All-Star" in the main menu.
If a player violates one of several infractions (including holding, hooking, goalie-interference, etc.), the player is directed to the penalty box to wait out the duration of his penalty time, which may be two or four minutes depending on whether the player on the receiving end of the violation is injured. Among these infractions is fighting; the players are capable of getting into physical fights during heated moments in the game, and this feature can be toggled on or off in the main menu. If an opponent squares off against the player, the player can either press any button to drop their gloves and initiate a brawl or avoid any action for four seconds; the latter option will prompt the referee to intervene and call roughing penalties. During a fight, the player can throw punches to the opponent's head, send uppercuts, grab and pull the opponent's jersey, skate back and forth, and block incoming punches. Players who get involved in a fight are given five-minute major penalties. The end of a player's time in the penalty box is signified by six tones. Penalties can be toggled on or off in the main menu.
The game's scoreboard is displayed between periods and any time the game is paused. Along with reviewing basic ongoing game information, the player can view instant replays, change their goalie, edit their winger lines, call a time-out (this option is only available once per game), or abort the game in progress. The players can fatigue and decline in performance quality over time; editing the lines or calling a time-out refreshes the players' stamina. In addition to the cycling of lines being performed manually or automatically before each face-off, the ability of the players to fatigue can be toggled on or off in the main menu. If the player's team is on a power play, the amount of alternate lines they have access to is restricted.
### Modes of play
NHL 96 features six modes of gameplay: Regular Game, Playoffs, Playoffs Best of 7, Season, Shootout, and Transactions; the Playoffs, Playoffs Best of 7 and Shootout modes are absent from the SNES version. The Regular Game mode is a single exhibition game in which the player can play against computer-controlled or human opponents. In the default Playoffs mode, eight teams from each conference engage in a single-game-elimination tournament. The Playoffs Best-of-7 mode is a closer reflection of the real-life NHL playoffs. The Season mode is a play-through of an entire 84-game season, complete with a best-of-7 playoff tournament and season-end awards ceremony. In the Shootout mode, the player can practice their penalty shot technique in a five-round shootout contest between any two teams.
In the Transactions mode, the player assumes the role of a general manager and creates, trades, and releases players, and signs free agents. The player can create and edit up to 19 new players and add them to a pool of free agents. The free agent pool is formed from all unassigned players, which includes newly-created players and existing players who have been released from their team's roster. Created players can be named and customized by team position, stick handedness, body weight, jersey number, and a series of attributes that can be configured using a limited number of points. When trading players, multiple players can be involved at a time, but no more than three from a team per transaction. Any attempt to stack a team will be rejected. Each team's roster must carry between 17 and 27 players, including two or three goalies.
## Development and release
The Genesis version was programmed by Mark Lesser, who had previously programmed John Madden Football '93, NHL '94 and NHL 95. The SNES version was programmed by Jason Andersen. A coaching feature was planned for the game, but was dropped late in the development cycle. NHL 96 is the first entry in the series to include physical fights between players following an absence of the feature in previous installments that was enforced by the NHL to promote a more wholesome image of the sport. This reversal of policy was brought about by a determined appeal from EA Canada and on the condition that the fights were limited to one or two times per game. It is also the first entry to feature real-time 3D graphics; the DOS version incorporates the "Virtual Stadium" technology previously used in FIFA Soccer 96, which allows the game to be seen from 11 different angles and to feature such details as reflections in the ice, corporate logos on the sideboards and more accurate team logos and jersey colors. The DOS version includes 668 printable high-resolution color photographs of the game's players made in collaboration with sports card manufacturer Donruss, as well as video interviews of NHL players and video highlights from the 1994–95 NHL season. The game's audio incorporates crowd chants and organ tunes specific to the stadium being played, and features the 2 Unlimited song "Get Ready for This" as a musical track. The cover of the game features Steve Yzerman and Scott Stevens, then team captains of 1995 Stanley Cup finalists the Detroit Red Wings and New Jersey Devils respectively.
The Genesis, SNES and DOS versions of NHL 96 were shipped to stores in North America on September 30, 1995 and released on October 6, 1995 to coincide with the opening of the 1995–96 NHL season. The same versions were released in Europe the same month. A Game Gear version was advertised, but not released. The Game Boy version was released in North America on November and carries the NHL league license, but not an NHL player's license; as a result, the game features official team names and logos, but no existing player rosters. A version for the PlayStation was announced the same month, but later cancelled because it did not meet Electronic Arts' quality standards. A version for the 3DO was also planned.
## Reception
The Genesis version of NHL 96 received highly positive reviews and is widely considered to be the best installment in the franchise. A critic for Next Generation commented that the game took the basics of NHL 95, "arguably the best sports simulation product ever", and added new features which served to only improve upon the gameplay of the series. They added that the opponent AI had been improved, and were also pleased with the more detailed player graphics, new sound effects, greater strategy with new ways to score, ability to create players, and more complex fighting mechanics. They concluded, "The only thing possibly wrong with this game is that every other sports game in your library may pale in comparison." Mike Salmon of Game Players declared that "the superb gameplay of the '95 version has only gotten better with time", and commended the game's sharp graphics, enhanced audio, tougher AI, and added techniques and features. Air Hendrix of GamePro gave the Genesis version a resoundingly positive review, applauding the new moves, the return of the fighting feature, the improved opponent AI, and the fluidly animated player sprites. Video Cowboy and the Iceman of Electronic Gaming Monthly also gave their approval of the Genesis version, particularly praising the improved opponent AI.
The SNES version was also received positively, though less so than its Genesis counterpart. Next Generation noted that the SNES version has sharper graphics and more animation than the Genesis version, but determined it to be slightly inferior overall due to the rougher gameplay and AI. Salmon stated that while the SNES entry had sharper graphics and gameplay than its predecessors, the combination of a less solid AI and faster gameplay pace led to a lower amount of challenge and capacity for strategy than the Genesis version. Game Players subsequently referred to NHL 96 as "far and away the best Super NES sports title". Quick-Draw McGraw of GamePro remarked that the SNES version had muddier graphics and less content than the Genesis version, the fights were dull and hard to control, and the "weak" audio was comparable to "listening to the game from the parking lot".
Reviewing the DOS version, Todd Vaughn of PC Gamer praised the game's detailed graphics (particularly when higher resolutions are enabled), realistic and challenging gameplay, and modem-enabled multiplayer capability, though noted that not all of the game's camera angles were optimal for gameplay, and that the system requirements were steep. Next Generation's reviewer was less enthusiastic about the DOS version than the console versions, but their complaint was with the graphics and extreme slowness of the SVGA mode "on even high-end 486s." However, they gave the game an overall strong recommendation for its realistic features and many special moves. Hugo Foster of GameSpot criticized that the games are too frequently scoreless, and that success and failure seem to be largely random. He added that the game "is still fun to play", and praised the fluidly animated graphics and the precise controls.
NHL 96 was the 9th highest-renting SNES title and the 6th highest-renting Genesis title at Blockbuster Video in its opening month. Game Players named NHL 96 the best Genesis game of 1995. GamePro awarded the Genesis version 2nd Best Sports Game of 1995. In GamePro's "1995 Readers' Choice Awards", the Genesis version was ranked the fourth Best Sports Game (16-Bit Games), taking 11% of the vote. Computer Games Strategy Plus named NHL 96 the best computer sports game of 1995. NPD Group analyst Mat Piscatella reported that the SNES version of NHL 96 was the third highest-selling retro title of April 2018. | [
"## Gameplay",
"### Modes of play",
"## Development and release",
"## Reception"
] | 2,443 | 34,069 |
16,486,350 | Regele Ferdinand-class destroyer | 1,124,809,750 | Destroyers built in Italy for the Romanian Navy during the 1920s | [
"Italy–Romania relations",
"Regele Ferdinand-class destroyers",
"Ships built in Italy",
"World War II destroyers of Romania",
"World War II destroyers of the Soviet Union"
] | The Regele Ferdinand class was a pair of destroyers built in Italy for the Romanian Navy during the late 1920s. The sister ships were the most modern and powerful warships of the Axis powers in the Black Sea during World War II. During the war they participated in the 1941 Raid on Constanța and the 1944 evacuation of the Crimea, although they spent the vast majority of the war escorting convoys in the Black Sea. The Romanians claimed that they sank two submarines during the war, but Soviet records do not confirm their claims. Following King Michael's Coup, where Romania switched sides and joined the Allies in late 1944, the two ships were seized and incorporated into the Soviet Black Sea Fleet. They were returned to Romania in 1951 and served until 1961 when they were scrapped.
## Background and design
Following the end of World War I and the re-purchase of two Aquila-class cruisers from Italy, the Romanian Government decided to order several modern destroyers from the Pattison Yard in Naples, Italy, as part of the 1927 Naval Programme. The design was based on the British Shakespeare-class destroyer leaders, but differed in the arrangement of their propulsion machinery. The guns, however, were imported from Sweden and the fire-control system were from Germany. Four destroyers were intended to be ordered, but only two were actually built.
The Regele Ferdinand-class ships had an overall length of 101.9 metres (334 ft 4 in), had a beam of 9.6 metres (31 ft 6 in), and a mean draught of 3.51 metres (11 ft 6 in). They displaced 1,400 long tons (1,422 t) at standard load and 1,850 long tons (1,880 t) at deep load. Their crew numbered 212 officers and sailors. The ships were powered by two Parsons geared steam turbines, each driving a single propeller, using steam provided by four Thornycroft boilers. The turbines were designed to produce 52,000 shaft horsepower (39,000 kW) for a speed of 37 knots (69 km/h; 43 mph), although the Regele Ferdinands reached 38 knots (70 km/h; 44 mph) during their sea trials. They could carry 480 long tons (490 t) of fuel oil which gave them a range of 3,000 nautical miles (5,600 km; 3,500 mi) at a speed of 15 knots (28 km/h; 17 mph).
The main armament of the Regele Ferdinand-class ships consisted of five 50-calibre Bofors 120-millimetre (4.7 in) guns in single mounts, two superfiring pairs fore and aft of the superstructure and one gun aft of the rear funnel. For anti-aircraft defence, they were equipped with one Bofors 76-millimetre (3 in) anti-aircraft (AA) gun between the funnels and a pair of 40-millimetre (1.6 in) AA guns. The ships were fitted with two triple mounts for 533-millimetre (21 in) torpedo tubes and could carry 50 mines and 40 depth charges. They were equipped with a Siemens fire-control system which included a pair of rangefinders, one each for the fore and aft guns.
### Modifications
The 40-millimetre guns were replaced by two German 3.7-centimetre (1.5 in) AA guns and a pair of French 13.2-millimetre (0.52 in) M1929 Hotchkiss machineguns were added in 1939. Two Italian depth charge throwers were later installed. During World War II, the 76-millimetre gun was replaced by four 20-millimetre (0.79 in) AA guns. In 1943, the two ships were equipped with a German S-Gerät sonar. The following year, the upper forward 120-millimetre gun was replaced by a German 88-millimetre (3.5 in) AA gun. German 88-millimetre guns in Romanian service were themselves modified by being fitted with Romanian-produced barrel liners.
## Ships
## Service history
The sisters were commissioned into the Romanian Navy when they arrived at Constanța, on 7 September 1930. They were assigned to the Destroyer Squadron, which was visited by King Carol II of Romania and the Prime Minister, Nicolae Iorga, on 27 May 1931. Regina Maria participated in the Coronation Fleet review for King George VI in 1937 at Spithead.
On 26 June 1941, shortly after the Axis invasion of the Soviet Union (Operation Barbarossa), Regina Maria helped repel a Soviet naval attack against the main Romanian port of Constanța, together with the flotilla leader Mărăști. The Romanians were expecting an attack and the accuracy of their fire, reinforced by the heavy guns of the German coastal artillery battery Tirpitz, caused the Soviet ships to withdraw, losing the destroyer leader Moskva in a Romanian minefield that had been laid shortly before the start of the war. Her sister ship Kharkov was lightly damaged by one of the Romanian ships and the heavy cruiser Voroshilov was slightly damaged by a Romanian mine as the Soviets were withdrawing.
Massively outnumbered by the Soviet Black Sea Fleet, the Romanian ships were kept behind the minefields defending Constanța for the next several months, training for the convoy escort mission that would be their primary task for the rest of the war. Beginning on 5 October, the Romanians began laying minefields to defend the route between the Bosphorus and Constanța; the minelayers were protected by the destroyers. After the evacuation of Odessa on 16 October, the Romanians began to clear the Soviet mines defending the port and to lay their own minefields protecting the route between Constanța and Odessa. While escorting a convoy to Odessa on 16–17 December, Regele Ferdinand depth-charged and may have sunk the Soviet submarine M-59.
During the winter of 1941–1942, the Romanian destroyers were primarily occupied with escorting convoys between the Bosporus and Constanța, and then, after the ice melted in April 1942, to Ochakov and Odessa. After the garrison of Sevastopol surrendered on 4 July, a direct route between the port and Constanța was opened in October and operated year-round. Regina Maria and Regele Ferdinand also escorted the minelayers as they laid defensive minefields to protect the convoy routes in 1942–1943. The latter ship claimed to have sunk a submarine, possibly Shch-207, on 16 September 1943. Soviet sources, however, do not acknowledge any submarine lost on that day.
Successful Soviet attacks in early 1944 cut the overland connection of the Crimea with the rest of Ukraine and encircled Axis troops in Sevastopol during April. The Romanians began evacuating the city on 14 April, with their destroyers covering the troop convoys. After the 5,700-gross register ton (GRT) cargo ship SS Alba Iulia was bombed and set on fire by Soviet aircraft on 18 April, the sisters were dispatched to see if she could be salvaged. They put a skeleton crew aboard to operate her pumps and to stabilise her before a pair of tugboats arrived the next morning to tow her to Constanța. Regele Ferdinand was badly damaged by Soviet aircraft on 11 May after having loaded Axis troops at Sevastopol; their attacks damaged her fuel system to the extent that she ran out of fuel despite passing oil hand-to-hand in a bucket brigade and had to be towed a short distance to Constanța. Regina Maria made two trips to evacuate Axis troops and was part of the last convoy to reach Sevastopol on the night of 11/12 May. Regele Ferdinand was slightly damaged during a Soviet airstrike on Constanța on 20 August.
After the capitulation of Romania to the Soviet Union in August 1944, the sisters were seized and incorporated into the Black Sea Fleet as Likhoy (Лихой, ex-Regele Ferdinand) and Letuchiy (Летучий, ex-Regina Maria). They were commissioned into the Soviet Navy on 20 October 1944. The two ships were returned in 1951 and were renamed D21 and D22, respectively, in the Naval Forces of the Romanian People's Republic. They served until 1961 when they were discarded and subsequently scrapped. | [
"## Background and design",
"### Modifications",
"## Ships",
"## Service history"
] | 1,830 | 30,125 |
12,320,470 | University of the Philippines Los Baños College of Forestry and Natural Resources | 1,168,253,695 | Forestry school of the University of the Philippines Los Baños | [
"1910 establishments in the Philippines",
"Forest research institutes",
"Forestry education",
"Forestry in the Philippines",
"History of forestry education",
"Universities and colleges established in 1910",
"University of the Philippines Los Baños"
] | The University of the Philippines Los Baños College of Forestry and Natural Resources (also referred to as CFNR) is one of the 11 degree-granting units of the University of the Philippines Los Baños (UPLB). It started as the Forest School under the UP College of Agriculture in 1910, making it the oldest forestry school in the Philippines. It is one of the five founding units of UPLB upon its establishment in 1972.
The college has been identified as a "Center of Excellence" in forestry by the Philippine Commission on Higher Education since January 2000. CFNR offers one undergraduate degree program (Bachelor of Science in Forestry) along with four other graduate degree programs and one two-year certificate program. Two of its professors, including its one of its deans, are members of the Intergovernmental Panel for Climate Change, the 2007 recipient of the Nobel Peace Prize.
## History
CFNR traces its roots to the Forest School founded on April 14, 1910, through an Act 1989 by the Insular Government of the Philippines and efforts by Secretary of the Interior, Dean Conant Worcester. It was originally established as a department in the newly established of the College of Agriculture, and all of its early faculty were from the Bureau of Forestry. The Forest School became independent of the College of Agriculture in February 1916 through Act 2578. Since then directors of the bureau had acted as ex officio deans of the school. The Forest School changed its name to School of Forestry in 1924 by effect of Act 3095.
Arthur Frederick Fischer, the School of Forestry's first dean, retired as director of the Bureau of Forestry in February 1936. He was replaced by Florencio Tamesis who became the School of Forestry's second dean, as well as its first Filipino dean.
During the Second World War the campus was used as an internment camp for American civilians then in the Philippines. Largely as a result of the liberation of the campus during the Raid on Los Baños, all the School of Forestry buildings, including student and faculty houses, were destroyed. Large parts of the Makiling Forest Reserve, which is administered by the school were likewise damaged. Only four faculty including Tamesis and silviculture professor Teodoro C. Delizo, along with five students returned upon the resumption of classes. Classes were held under trees until its buildings could be reconstructed through the help of war reparation funds worth ₱59,300 (about US\$30,000 in 1946).
The School of Forestry became the College of Forestry on June 14, 1949, by effect of RA 352, with the College of Forestry finally separated from the Bureau of Forestry in 1957, effectively putting it under direct administration of the University of the Philippines.
In 1954 the College of Forestry signed an agreement with Cornell University for providing academic and financial assistance. The College of Forestry received visiting professors from Cornell and grants that were used for construction and forestry research, while faculty and students were awarded scholarships for pursuing master's degrees at US universities.
Domingo M. Lantican became the dean of the College of Forestry in May 1966. Lantican implemented a 5-year campus development program which included construction of new buildings and designating areas for dormitories and staff housing.
The College of Forestry was reorganized to become the College of Forestry and Natural Resources on June 25, 1998. Since 2004 the event has been celebrated in concurrence with the Philippine Arbor Day, a nationwide event marked by extensive tree planting.
## Campus
The campus of the College of Forestry and Natural Resources, referred to as the "upper campus", is situated on the northeastern slope of Mount Makiling. The campus contains academic buildings, dormitories, hosted institutions (such as the ASEAN Center for Biodiversity), and the 4,347-hectare Makiling Forest Reserve (MFR), which serves as an outdoor laboratory for forestry students and is believed to contain more tree species than the continental United States.
Aside from being the location of the college, the MFR is also the site of the College of Public Affairs, National Arts Center, Philippine High School for the Arts, the venue of the National Jamboree of the Boy Scouts of the Philippines (BSP), the Center for Philippine Raptors and the Bureau of Plant Industry-Makiling Botanic Gardens, one of the oldest parts of the campus. The gardens occupy the site where the tents were used as classrooms during the first four months of the university.
The MFR serves as an outdoor laboratory to students, primarily of the College of Forestry and Natural Resources. ₱5 million (US\$156,000) was designated for its conservation and development in 2011. The MFR was created in 1910 under the Bureau of Forestry. Jurisdiction over the MFR was transferred to the UP in 1960. NAPOCOR acquired complete jurisdiction of the MFR, however, in 1987 as part of the Philippines' energy development program under President Corazon Aquino. The MFR was returned to UPLB three years later by effect of RA 6967. In 2008 representative Del De Guzman of the 2nd district of Makati filed HB 1143 which, if passed into law, would have transferred jurisdiction of the MFR to the Boy Scouts of the Philippines. The bill was strongly opposed by the UPLB, citing possible mismanagement and deforestation of the site if placed under the BSP among others.
## Organization and administration
The College of Forestry and Natural Resources is managed by a dean, who is appointed by the UP Board of Regents, and assisted by an associate dean. Prior to the college's separation from the Bureau of Forestry in 1957, the deans of the College of Forestry and its predecessors were not appointed by the board but were the directors of the Bureau of Forestry acting as ex officio heads of the college. Due to the distance of the Bureau of Forestry in Manila from the Forest School in Los Baños (about 64 kilometers), directors of the bureau appointed foresters-in-charge to manage the school, a practice which continued until 1957.
The College of Forestry and Natural Resources is a founding member of the Asia Pacific of Forestry Research Institutions, and the CFNR Institute of Agroforestry is a member of the Philippine Agroforestry Education and Research Network.
## Academics
CFNR offers one undergraduate degree program (Bachelor of Science in Forestry), four graduate degree programs and one certificate program. It started offering master's and doctor's degrees in 1966 and 1973, respectively. The college produces about 100 graduates every year and has been identified as a "Center of Excellence" in forestry by the Philippine Commission on Higher Education since January 2000.
Admission to the BS Forestry program is done through the University of the Philippines College Admission Test, while a Certificate in Forestry applicants are screened by a test administered by CFNR. Admission to graduate programs are managed by the Graduate School. Of its 394 students in 2008, 61 and 295 were enrolled in its Certificate in Forestry and BS Forestry programs, respectively, while the rest are in its graduate degree programs. As of 2009 it had 393 students enrolled in all of its programs. 38 of its faculty hold PhDs.
While all of its 20 students when the Forest School opened were male, more than 60% of the students of the college were female as of 2003. Women first enrolled in the college in 1951. Other forestry schools in the Philippines have also experienced a similar increase in female enrollment.
The graduates of the college has maintained substantially good performance in the forestry license exams conducted by the Professional Regulation Commission. For instance, the mean passing rates of its graduates in the exams for the years 2008–2010 is 92.49%. This is almost double of the mean national passing rate for the same period. Furthermore, six of its graduates belonged to the top ten best performing students in the 2010 exam, while four belonged to the top ten in both 2008 and 2009 exams. (see table)
### Libraries and collections
The CFNR Library holds about 30,000 publications which mostly focus on forestry and related disciplines. The library has a floor area of 974.64 sq. m, and is open 40 hours a week.
The Museum of Natural History of the University of the Philippines Los Baños, established in 1976, is located in the campus. It holds over 200,000 biological specimens; including half of the samplings from the Philippine Water Bug Inventory Project. More than half of the museum's specimens are in its entomological collection. While most of the museum's collections are in its main building, some are housed in other UPLB units.
### Research
In 2002 the college had 94 researchers working in its eight research units. This includes the Makiling Center for Mountain Ecosystems, believed to be the first institution in the Philippines devoted to the study of mountain ecology. It also manages the Makiling Forest Reserve and has launched programs promoting its conservation.
The Forest Products Research and Development Institute, founded as the Forest Products Laboratory under the Bureau of Forestry in 1954, is hosted in the campus. Managed by the Department of Science and Technology of the government of the Philippines, it is engaged in paper science and bioenergy research, among others. It has also generated technologies such as those for biomass energy generation and construction. Its facilities, believed to be the "largest and best equipped in the eastern hemisphere" by the time of its construction, were patterned after the University of Wisconsin's Forest Products Laboratory. It was built using US grants worth US\$239,552 and funding from the Philippine government worth ₱518,000 (US\$12,000). It had a total budget of almost ₱87 million (US\$2.01 million) in 2011, with about ₱51 million (US\$1.18 million) of this appropriated for research.
## Extension
The Training Center for Tropical Resources and Ecosystems Sustainability, established in June 1998 by the UP Board of Regents, offers more than 300 training programs in forest and land management, logging, and related disciplines. It has a satellite office in Baguio which offers similar programs. Its programs are designed for professionals in working in the agroforestry-related disciplines and the wood industry. | [
"## History",
"## Campus",
"## Organization and administration",
"## Academics",
"### Libraries and collections",
"### Research",
"## Extension"
] | 2,195 | 11,697 |
95,225 | Thebe (moon) | 1,136,107,266 | Moon of Jupiter | [
"Astronomical objects discovered in 1979",
"Discoveries by Stephen P. Synnott",
"Moons of Jupiter",
"Moons with a prograde orbit",
"Thebe (moon)"
] | Thebe /ˈθiːbiː/, also known as Jupiter XIV, is the fourth of Jupiter's moons by distance from the planet. It was discovered by Stephen P. Synnott in images from the Voyager 1 space probe taken on March 5, 1979, while making its flyby of Jupiter. In 1983, it was officially named after the mythological nymph Thebe.
The second largest of the inner satellites of Jupiter, Thebe orbits within the outer edge of the Thebe gossamer ring that is formed from dust ejected from its surface. It is irregularly shaped and reddish in colour, and is thought like Amalthea to consist of porous water ice with unknown amounts of other materials. Its surface features include large craters and high mountains—some of them are comparable to the size of the moon itself.
Thebe was photographed in 1979 by the Voyager 1 and 2 spacecraft, and later, in more detail, by the Galileo orbiter in the 1990s.
## Discovery and observations
Thebe was discovered by Stephen P. Synnott in images from the Voyager 1 space probe taken on March 5, 1979, and was initially given the provisional designation S/1979 J 2. In 1983 it was officially named after the mythological nymph Thebe who was a lover of Zeus—the Greek equivalent of Jupiter.
After its discovery by Voyager 1, Thebe was photographed by the Voyager 2 space probe in 1979. However, before the Galileo spacecraft arrived at Jupiter, knowledge about it was extremely limited. Galileo imaged almost all of the surface of Thebe and helped clarify its composition.
## Orbit
Thebe is the outermost of the inner Jovian moons, and orbits Jupiter at a distance of about 222,000 km (3.11 Jupiter radii). Its orbit has an eccentricity of 0.018, and an inclination of 1.08° relative to the equator of Jupiter. These values are unusually high for an inner satellite and can be explained by the past influence of the innermost Galilean satellite, Io; in the past, several mean-motion resonances with Io would have passed through Thebe's orbit as Io gradually receded from Jupiter, and these excited Thebe's orbit.
The orbit of Thebe lies near the outer edge of the Thebe gossamer ring, which is composed of the dust ejected from the satellite. After ejection the dust drifts in the direction of the planet under the action of Poynting–Robertson drag forming a ring inward of the moon.
## Physical characteristics
Thebe is irregularly shaped, with the closest ellipsoidal approximation being 116×98×84 km. Its surface area is probably between 31,000 and 59,000 (\~45,000) km<sup>2</sup>. Its bulk density and mass are not known, but assuming that its mean density is like that of Amalthea (around 0.86 g/cm<sup>3</sup>), its mass can be estimated at 4.3 kg.
Similarly to all inner satellites of Jupiter, Thebe rotates synchronously with its orbital motion, thus keeping one face always looking toward the planet. Its orientation is such that the long axis always points to Jupiter. At the surface points closest to and furthest from Jupiter, the surface is thought to be near the edge of the Roche limit, where Thebe's gravity is only slightly larger than the centrifugal force. As a result, the escape velocity in these two points is very small, thus allowing dust to escape easily after meteorite impacts, and ejecting it into the Thebe gossamer ring.
Zethus /ˈziːθəs/ is the largest (diameter about 40 km) crater on and the only named surface feature of Jupiter's moon Thebe. There are several bright spots at the rim of this crater. It is located on the far side of Thebe, facing away from Jupiter. It was discovered by the Galileo spacecraft. It is named for Zethus (Ζῆθος), the husband of the nymph Thebe in Greek mythology.
The surface of Thebe is dark and appears to be reddish in color. There is a substantial asymmetry between leading and trailing hemispheres: the leading hemisphere is 1.3 times brighter than the trailing one. The asymmetry is probably caused by the higher velocity and frequency of impacts on the leading hemisphere, which excavate a bright material (probably ice) from the interior of the moon. The surface of Thebe is heavily cratered and it appears that there are at least three or four impact craters that are very large, each being roughly comparable in size to Thebe itself. | [
"## Discovery and observations",
"## Orbit",
"## Physical characteristics"
] | 998 | 37,362 |
21,900,901 | 1982 Women's Cricket World Cup | 1,141,673,386 | International cricket tournament | [
"1982 Women's Cricket World Cup",
"1982 in New Zealand cricket",
"1982 in women's cricket",
"February 1982 sports events in New Zealand",
"International women's cricket competitions in New Zealand",
"January 1982 sports events in New Zealand",
"Women's Cricket World Cup tournaments"
] | The 1982 Women's Cricket World Cup, known as the 1982 Hansells Vita Fresh World Cup for sponsorship purposes, was an international cricket tournament played in New Zealand from 10 January to 7 February 1982. Hosted by New Zealand for the first time, it was the third edition of the Women's Cricket World Cup, coming four years after the previous 1978 World Cup in India.
The tournament, which featured a triple round-robin, was at the time the longest World Cup both in duration and the number of matches played. Five teams were originally invited in addition to the hosts, but the Netherlands were unable to attend and the West Indies withdrew in protest at New Zealand hosting the 1981 South Africa rugby union tour during the apartheid-era in South Africa. Those teams were instead replaced by a composite International XI team. Australia did not lose a single match, winning its second consecutive tournament by defeating England in the final at Lancaster Park, Christchurch. Australia's thirteen matches without defeat were part of a greater series of 24 matches without defeat, extending from 1978 to 1985, which was a One Day International (ODI) record before being broken by themselves in 2021 which consists of a streak of 26 matches extending from 2018 to 2021. The World Cup was marked by its low scoring, with only one team recording more than 250 runs in an innings, and was also notable for featuring two matches that were tied – the first between England and New Zealand, and the second between England and Australia. They were the first ties in international women's cricket. England's Jan Brittin led the tournament in runs, while Australian spinner Lyn Fullston led the tournament in wickets.
## Background
Jack Hayward and Rachael Heyhoe-Flint organised the 1973 Women's Cricket World Cup, predating the first men's Cricket World Cup by two years. The tournament was played as a league format; the team who topped the points table at the conclusion would be champions. England beat Australia in the last match of the tournament to become the first Women's World Cup winners. The second Women's Cricket World Cup was scheduled to take place in South Africa in 1978, but with that country facing increasing sporting boycotts due to its apartheid policies, and withdrawals for financial reasons by the Netherlands and West Indies, the tournament was in jeopardy. The 1978 Women's Cricket World Cup was belatedly relocated to India, and featured only four teams. The tournament was once again played in a league format, but as in 1973, the final group match acted as a de facto final: Australia beat England to become champions.
During the 1978 World Cup, the International Women's Cricket Council (IWCC) met. The IWCC had not been involved in the running of either of the first two world cups, but felt that there had been a lack of organisation, and announced that they would be more involved with future world cups. Despite the involvement of the IWCC, the organisation of the 1982 event still primarily rested on the New Zealand Women's Cricket Council; which itself was mostly formed of the players themselves. They spent eighteen months planning the tournament. Their efforts resulted in the Women's World Cup having a title sponsor for the first time; it was officially known as the Hansells Vita Fresh World Cup.
## Format
Unlike the two previous women's world cups, the 1982 tournament featured a final. A round-robin league stage involved each of the five teams playing each other three times each; a total of 30 group matches, from which the top two teams qualified for the final. The tournament took place over 29 days, from 10 January to 7 February. Each match was played as a 60-overs-per-side contest.
## Participants
Five teams were invited: Australia, England, India, the Netherlands and the West Indies, but as in 1978, South Africa were not invited due to the ongoing boycott. Despite the increased sponsorship, and the involvement of the IWCC, participating teams and players had to fund their own visit. For example, each Indian player had to pay Rs10,000 (roughly £570, or US\$1,000 at the time). This cost was prohibitive for the Dutch team, who withdrew from the tournament, as they had four years earlier. The West Indies also pulled out, in protest that New Zealand had hosted the apartheid-era South African rugby team in 1981. In order to prevent another four-team competition, the organising committee decided to invite a selection of players to form an International XI, as had featured at the 1973 World Cup.
## Squads
## Venues
## Group stage
### Summary
The tournament began on 10 January 1982 with two matches played in Auckland. Australia beat India by 153 runs, a new record margin in women's ODIs. In the other match, another record was set; England and New Zealand played out the first tied match in women's ODIs. The tournament remained in Auckland for the next round of matches on 12 January; England beat India by four wickets, while New Zealand surpassed the record set by Australia two days earlier, by beating the International XI by 184 runs, a record which would stand for six years. New Zealand set another new record in their next match two days later, when they bowled India out for what was, at the time, the lowest total in women's ODIs: 37. On the same day in Hamilton, England beat the International XI by 132 runs. Australia beat New Zealand by eight wickets and England by 44 runs on consecutive days in New Plymouth, while India completed a 79-run victory over the International XI in Napier. England remained in New Plymouth, and beat New Zealand by seven wickets the day after their loss to Australia.
Continuing to move south, Australia beat the International XI by 64 runs in Palmerston North, while on the same day India beat England by 47 runs, India's first win over England, and a victory The Guardian described at the time as India's "best ever result in the World Cup". On 21 January, New Zealand beat the International XI by 97 runs. Two days later, Australia beat England by six wickets. England played again the next day, beating the International XI by nine wickets, while New Zealand beat India by eight wickets. Australia then won twice in two days, beating the International XI by 146 runs and India by four wickets. In the last round of matches played in the North Island, England beat New Zealand by five wickets, New Zealand then lost to Australia by 69 runs, before India beat the International XI by 78 runs.
The tournament moved to the South Island on 30 January; Australia beat the International XI by 76 runs in Dunedin. The next day, England beat India by ten wickets, and New Zealand beat the International XI by 84 runs. Australia and England tied the 25th match of the tournament; it was England's second tie of the group stage, and the second ever in women's ODIs. India were once again bowled out cheaply by New Zealand in their next match, and were beaten by eight wickets. On 4 February, Australia and England both posted large totals in their victories; Australia scored 193 for five as they beat India by 39 runs, while England scored 242 for four in a 113-run over the International XI. Two days later, Australia beat New Zealand by 41 runs, and India beat the International XI by 14 runs; meaning that the International XI did not record a win in the competition. In the final match of the group stage, Australia beat England by three wickets.
Having remained unbeaten throughout the tournament, only dropping points in their tie with England, Australia finished top of the table. England trailed them by fourteen points in second place; both qualified for the final. New Zealand won all their matches against India and the International XI, but against Australia and England, only gained points during their tie with England. India's victory over England was their only win that did not come against the International XI.
### Points table
- Teams marked progressed to the final.
- Note: run rate was to be used as a tiebreaker in the case of teams finishing on an equal number of points, rather than net run rate, which is now common.
### Matches
## Final
The final was the only match of the tournament played at Lancaster Park, Christchurch, and took place in front of a crowd of 3,000. Dickie Bird became the only umpire to stand in both a men's and women's World Cup final. England won the toss and batted first. They scored slowly until the last ten overs of their innings; Jan Southgate made their highest score, with 53 runs, but found batting difficulty against Australia's spin bowling. In the last ten overs, England played more expansively, and eventually finished with 151 runs, meaning that Australia would need to score 152 to win. Australia lost three wickets early in their chase, but were steadied by a partnership between Karen Read and Sharon Tredrea. Quick scoring from Jen Jacobs and Marie Cornish late-on in the innings helped Australia to their target with six balls remaining, securing a three-wicket victory, and their second World Cup title.
## Statistics
England's Jan Brittin finished with the most runs during the World Cup, having accumulated 391, ahead of the 383 scored by Lynne Thomas of the International XI and Susan Goatman, also of England, who scored 374. Brittin also made the highest score of the tournament, when she scored 138 not out against the International XI. The only other century of the tournament came against the same opposition: Barbara Bevege's 101. The best averages of the competition were achieved by England's Heyhoe-Flint, with 47.83, and two Australians, Jill Kennare (43.87) and Lyn Fullston (41.00).
Amongst the bowlers, Fullston took the most wickets (23), followed by Jackie Lord of New Zealand, with 22, and India's Shubhangi Kulkarni, who took 20. Lord had the best bowling figures in an innings, when she took six wickets against India. The only other bowler to take five wickets in an innings was Fullston, who did so against New Zealand, taking five for 27. Kulkarni had the best bowling average in the World Cup, collecting her wickets at 11.70. She was followed by Fullston (12.00) and Lord (12.40). The most economical bowler was New Zealand's Sue Brown, who conceded 1.53 runs per over, followed by a pair of Australians; Cornish (1.76) and Denise Martin (1.77).
### Leading run scorers
### Leading wicket takers | [
"## Background",
"## Format",
"## Participants",
"## Squads",
"## Venues",
"## Group stage",
"### Summary",
"### Points table",
"### Matches",
"## Final",
"## Statistics",
"### Leading run scorers",
"### Leading wicket takers"
] | 2,257 | 30,863 |
2,270,426 | The Frying Game | 1,116,297,778 | null | [
"2002 American television episodes",
"Television shows written by John Swartzwelder",
"The Simpsons (season 13) episodes"
] | "The Frying Game" is the twenty-first and penultimate episode of the thirteenth season of the American animated television series The Simpsons. It first aired on the Fox network in the United States on May 19, 2002. In the episode, after accidentally injuring an endangered caterpillar, Homer is sentenced to two weeks of community service. As part of his sentence, Homer delivers Meals on Wheels to an old woman called Mrs. Bellamy, who subtly guilt trips him, and later Marge, into becoming her personal servants. One day, the two find Mrs. Bellamy dead in her house, having been stabbed by a man with braces who quickly escapes the murder scene. Being the only ones present when the police arrive, Homer and Marge are soon suspected for the murder. The episode also features a "Snuh cascade", an homage to a group of Simpsons fans on Usenet.
"The Frying Game" was written by John Swartzwelder and directed by Mike Frank Polcino. The screamapillar was conceived by the episode's writer, who pitched it to the other staff writers. It has since been described as a satire on the Endangered Species Act, a United States environmental law passed during the 1970s. The idea that Homer's execution was in fact part of a reality game show was conceived by former staff writer George Meyer. The episode features Frances Sternhagen as Mrs. Bellamy and Carmen Electra as herself. In its original broadcast, the episode was seen by approximately 6.5 million viewers, finishing in 46th place in the ratings the week it aired.
Following its home video release, the episode received mixed reviews from critics.
## Plot
Homer gives Marge a koi pond for their anniversary, but an endangered "Screamapillar" takes refuge in the pond. Bound by law to care for it, Homer accidentally injures the loud, annoying larva while reading a bedtime story. For trying to bury the larva to cover up the injury, Homer is sentenced to two weeks of community service for "attempted insecticide and aggravated buggery".
Homer begins delivering Meals on Wheels to an elderly woman, Mrs. Bellamy, who takes a liking to him. She subtly guilt trips Homer, and later Marge, into becoming her personal servants. When Mrs. Bellamy turns up dead, having been stabbed with a pair of scissors, Homer and Marge are the prime suspects in the murder, even though they witnessed a man with braces leaving the murder scene with Mrs. Bellamy's necklace. The people of Springfield are very suspicious of Homer and Marge, and Chief Wiggum does not believe their story. Finally, during an inspection of the house, Maggie is found with Mrs. Bellamy's necklace, and Wiggum arrests Homer and Marge. Bart, Lisa and Maggie are adopted by Cletus Spuckler, who decides to change their names to "Dingus Squatford Jr." and "Pamela E. Lee".
Despite not undergoing lie detector or DNA tests, both are sentenced to death by electric chair. In a bid to spare Marge, Homer confesses to the warden that he acted alone, and Marge is released. As Homer is sitting in the electric chair, it is suddenly revealed that he is on a new Fox reality TV show, Frame Up. Mrs. Bellamy's murder was merely part of an elaborate hidden camera scheme, the man with the braces is the show's host, and Mrs. Bellamy is guest host Carmen Electra in disguise. Chief Wiggum is annoyed that the police department's time and taxpayers' money was wasted on what turned out to not even be a real case, but is excited to learn he will be in the show and has them give Lou and Eddie producer credits. Homer and Marge are reunited with the kids, but Homer is infuriated that he had to suffer just so the show could get higher ratings; as Electra tries to explain, he ends up staring at her breasts.
## Production
"The Frying Game" was written by John Swartzwelder and directed by Mike Frank Polcino. It was first broadcast on the Fox network in the United States on May 19, 2002. The screamapillar, the larva that the Simpsons find in their garden, was, according to current showrunner Al Jean, Swartzwelder's "total conception." He pitched the idea to the Simpsons writing staff, and because they found it "hilarious," they decided to include it in the episode. Jean said that when people ask what sense of humor Swartzwelder has, the screamapillar is "one of the best examples." It was voiced by main cast member Dan Castellaneta, who portrays Homer among other characters in the series. Because the screamapillar only communicates by screaming, its lines were recorded last during recording sessions, as the screaming would "burn out" Castellaneta's voice.
In a scene in the episode, Homer is on death row and eats his last meal. The meal consists solely of junk food like hamburgers and fried chicken. The scene came from an article that the writers had read, in which it said that death sentenced prisoners often requested junk food as their last meal. On the way to the electric chair, Homer meets a man resembling Michael Clarke Duncan's character John Coffey in The Green Mile. While recording lines for the episode, the staff were told that Duncan was visiting the Fox studios. Having not recorded the lines for the character yet, the staff asked Duncan if he wanted to voice the character, but he declined. The music that plays during the scene is also from The Green Mile. The idea that Homer's execution was in fact a reality show on Fox was conceived by former staff writer George Meyer. According to fellow writer Matt Selman, the writing staff liked the idea since reality shows were "really big" at the time. The episode features American actress Frances Sternhagen as Mrs Bellamy, and glamour model Carmen Electra as herself. According to Jean, Electra's character is "one of the most voluptuous figures" they have ever had on The Simpsons.
## Themes
In the DVD commentaries, creator Matt Groening and the majority of people who work on the show state several times that they are very liberal, but some, such as John Swartzwelder (the writer of this and many other The Simpsons episodes), are conservative. In his book The Really Inconvenient Truths: Seven Environmental Catastrophes Liberals Don't Want You to Know About- Because They Helped Cause Them, Iain Murray described "The Frying Game" as "subversively conservative", and wrote that it shows "The best popular explanation of the liberal environmentalist model for endangered species." In the episode, Homer buys a koi pond for Marge, only to find a screamapillar has taken residence in their garden. When Homer tries to squash it, an EPA official tells him that allowing an endangered species to die is a federal offense, under the "Reversal of Freedoms Act of 1994." Homer is forced to coddle the screamapillar, and when he accidentally squashes it, Homer is found guilty of "attempted insecticide and aggravated buggery." The "Reversal of Freedoms Act" is a reference to the Endangered Species Act, an environmental law that Murray opined had "indeed become the Reversal of Freedoms Act." He continued, "Landowners who happened to have threatened or endangered species on their lands or who simply have habitat that might be used by endangered species are routinely prevented from using their lands or property. They are stopped from undertaking such activities as harvesting their trees, grazing their cattle, irrigating their fields, clearing brush along fence lines, disking firebreaks around their homes and barns, or building new homes.
## Release
In its original American broadcast on May 19, 2002, "The Frying Game" received a 6.2 rating, according to Nielsen Media Research, translating to approximately 6.5 million viewers. The episode finished in 46th place in the ratings for the week of May 13–19, 2002. On August 24, 2010, "The Frying Game" was released as part of The Simpsons: The Complete Thirteenth Season DVD and Blu-ray set. Matt Groening, Al Jean, Matt Selman, John Frink, Don Payne, Tom Gammill, Max Pross, Mike Frank Polcino and Deb Lacusta participated in the audio commentary of the episode.
Following its home video release, "The Frying Game" received mixed reviews from critics.
Giving the episode a positive review, Colin Jacobson of DVD Movie Guide described the episode as "pretty good", writing "I like the obnoxious Screamapillar, and the way the Simpsons become seen as murderers also amuses. This allows S13 to move toward a satisfying conclusion."
Nate Boss of Project-Blu praised the episode's ending in particular, writing "the ending to this episode is fucking briliant [sic], as it is a wonderful statement about society today, that has almost become prophetic. Can't and won't spoil it, but damn, great idea! (Yes, since there have been about eight more seasons, it's obvious they don't die. That's hardly a spoiler!)"
DVD Verdict's Jennifer Malkowski gave the episode a B+, declaring the episode's "highlight" "one of the reasons the Screamapillar is endangered, that it's 'sexually attracted to fire.'"
On the other hand, giving the episode a negative review, Andre Dellamorte of Collider described it as "terrible."
DVD Talk's Ryan Keefer wrote a negative review as well, calling it "definitely forgettable" and criticizing it for "fall[ing] apart quickly." Ron Martin of 411Mania criticized the Screamapillar character, describing it as "just as annoying as Homer's constant screaming earlier in the season."
## Cultural references
The episode title is a reference to the movie "The Crying Game".
The story itself was based on “The Green Mile.” It even features John Coffey, Mr. Jingles, and the saying “Dead man walking on a green mile.” | [
"## Plot",
"## Production",
"## Themes",
"## Release",
"## Cultural references"
] | 2,128 | 33,069 |
1,411,716 | My Back Pages | 1,168,134,129 | 1964 song by Bob Dylan | [
"1964 songs",
"1967 singles",
"Bob Dylan songs",
"Columbia Records singles",
"Eric Johnson songs",
"Ramones songs",
"Song recordings produced by Gary Usher",
"Song recordings produced by Tom Wilson (record producer)",
"Songs written by Bob Dylan",
"The Byrds songs"
] | "My Back Pages" is a song written by Bob Dylan and included on his 1964 album Another Side of Bob Dylan. It is stylistically similar to his earlier folk protest songs and features Dylan's voice with an acoustic guitar accompaniment. However, its lyrics—in particular the refrain "Ah, but I was so much older then/I'm younger than that now"—have been interpreted as a rejection of Dylan's earlier personal and political idealism, illustrating his growing disillusionment with the 1960s folk protest movement with which he was associated, and his desire to move in a new direction. Although Dylan wrote the song in 1964, he did not perform it live until 1988.
"My Back Pages" has been covered by artists as diverse as Keith Jarrett, the Byrds, the Ramones, the Nice, Steve Earle, Eric Johnson, and the Hollies. The Byrds' version, initially released on their 1967 album Younger Than Yesterday, was also issued as a single in 1967 and proved to be the band's last Top 40 hit in the U.S.
## Writing, recording and performance
Bob Dylan wrote "My Back Pages" in 1964 as one of the last songs—perhaps the last song—composed for his Another Side of Bob Dylan album. He recorded it on June 9, 1964, under the working title of "Ancient Memories", the last song committed to tape for the album. The song was partly based on the traditional folk song "Young But Growing" and has a mournful melody similar to that of "The Lonesome Death of Hattie Carroll" from Dylan's previous album, The Times They Are a-Changin'''. As with the other songs on Another Side, Dylan is the sole musician on "My Back Pages" and plays in a style similar to his previous protest songs, with a sneering, rough-edged voice and a hard-strumming acoustic guitar accompaniment.
In the song's lyrics, Dylan criticizes himself for having been certain that he knew everything and apologizes for his previous political preaching, noting that he has become his own enemy "in the instant that I preach." Dylan questions whether one can really distinguish between right and wrong, and even questions the desirability of the principle of equality. The lyrics also signal Dylan's disillusionment with the 1960s protest movement and his intention to abandon protest songwriting. The song effectively analogizes the protest movement to the establishment it is trying to overturn, concluding with the refrain:
Ah, but I was so much older then
I'm younger than that now
Music critic Robert Shelton has interpreted this refrain as "an internal dialogue between what he [Dylan] once accepted and now doubts." Shelton also notes that the refrain maps a path from Blakean experience to the innocence of William Wordsworth. The refrain has also been interpreted as Dylan celebrating his "bright, new post-protest future."
Dylan's disenchantment with the protest movement had previously surfaced in a speech he had given in December 1963 when accepting an award from the Emergency Civil Liberties Committee (ECLC) in New York. Author Mike Marqusee has commented that "No song on Another Side distressed Dylan's friends in the movement more than 'My Back Pages' in which he transmutes the rude incoherence of his ECLC rant into the organized density of art. The lilting refrain ... must be one of the most lyrical expressions of political apostasy ever penned. It is a recantation, in every sense of the word."
In an interview with the Sheffield University Paper in May 1965, Dylan explained the change that had occurred in his songwriting over the previous twelve months, noting "The big difference is that the songs I was writing last year ... they were what I call one-dimensional songs, but my new songs I'm trying to make more three-dimensional, you know, there's more symbolism, they're written on more than one level." In late 1965, Dylan commented on the writing of "My Back Pages" specifically during an interview with Margaret Steen for The Toronto Star: "I was in my New York phase then, or at least, I was just coming out of it. I was still keeping the things that are really really real out of my songs, for fear they'd be misunderstood. Now I don't care if they are." As Dylan stated to Nat Hentoff at the time that "My Back Pages" and the other songs on Another Side of Bob Dylan were written, "There aren't any finger pointing songs [here] ... Now a lot of people are doing finger pointing songs. You know, pointing to all the things that are wrong. Me, I don't want to write for people anymore. You know, be a spokesman."
Dylan did not play "My Back Pages" in concert until June 11, 1988, during a performance at the Shoreline Amphitheatre in Mountain View, California, the fourth concert of his Never Ending Tour which had started four days earlier. The arrangement he used eliminated some of the song's verses and included an electric guitar part performed by G. E. Smith as a member of his newly formed band. Since 1988, Dylan has played the song in concert many times in both electric and semi-acoustic versions, and sometimes as an acoustic encore. At the 30th Anniversary Tribute Concert to Dylan at Madison Square Garden in 1992, "My Back Pages" was performed in the Byrds' arrangement, with Roger McGuinn, Tom Petty, Neil Young, Eric Clapton, Dylan himself, and George Harrison, all singing one verse in that order. This performance, which featured vocals from all six musicians, along with guitar solos by Clapton and Young and with Booker T. & the M.G.'s, Jim Keltner and G. E. Smith (who was also the musical leader) as sidemen, was released on The 30th Anniversary Concert Celebration album in 1993. In addition to its initial appearance on Another Side of Bob Dylan, "My Back Pages" has appeared on a number of Dylan compilation albums. In the United States and Europe, it appeared on the 1971 album Bob Dylan's Greatest Hits Vol. II (a.k.a. More Bob Dylan Greatest Hits) and on the 2007 album Dylan. In Australia, the song was included on the 1994 compilation album Greatest Hits Vol. 3.
## Cover versions
### The Byrds' version
The American rock band the Byrds released a recording of "My Back Pages" on February 6, 1967, as part of their fourth album, Younger Than Yesterday. The title of Younger Than Yesterday was itself directly inspired by the song's refrain of "Ah, but I was so much older then/I'm younger than that now." "My Back Pages" was subsequently issued as a single by the Byrds on March 13, 1967, with the version included on the single being a radio edit that omitted the song's second verse, to reduce the playing time from 3:08 to 2:31. The single reached number 30 on the Billboard Hot 100 and number 18 in Canada, but failed to chart in the United Kingdom. "My Back Pages" was the last single by the Byrds to reach the Top 40 of the U.S. charts.
The song was initially suggested as a suitable vehicle for the band by their manager Jim Dickson. Lead guitarist Jim McGuinn felt that it would make an effective cover version, but David Crosby, the band's rhythm guitarist, felt that covering another Dylan song was formulaic. The Byrds had already released a total of six Dylan covers on their first two albums, Mr. Tambourine Man and Turn! Turn! Turn!, enjoying particular success with their recordings of "Mr. Tambourine Man" and "All I Really Want to Do". Despite Crosby's objections, the band recorded "My Back Pages" between December 5 and 8, 1966, during the recording sessions for their fourth album. Upon its release, this cover was received well by the critics and is today regarded as one of the Byrds' strongest Dylan interpretations. Following its release on Younger Than Yesterday, the song would go on to become a staple of the Byrds' live concert repertoire, until their final disbandment in 1973. On December 4, 1968, a later line-up of the Byrds re-recorded an excerpt of "My Back Pages" as part of a medley that was included on their 1969 album, Dr. Byrds & Mr. Hyde. The song was performed live extensively during the band's later country rock period, often segueing into Jimmy Reed's "Baby What You Want Me to Do". Live versions from this time can be found on Live at Royal Albert Hall 1971 and as a bonus track on the reissue of (Untitled). The song was also performed live by a reformed line-up of the Byrds featuring Roger McGuinn, David Crosby, and Chris Hillman in January 1989.
In addition to its appearance on the Younger Than Yesterday album, the Byrds' original version of "My Back Pages" appears on several of the band's compilations, including The Byrds' Greatest Hits, History of The Byrds, The Byrds Play Dylan, The Original Singles: 1967–1969, Volume 2, The Byrds, The Very Best of The Byrds, The Essential Byrds, and There Is a Season. In 1996, a previously unreleased alternate version of "My Back Pages" (which had been considered for release as a single in 1967) was included as a bonus track on the Columbia/Legacy reissue of Younger Than Yesterday.
### Other covers
The song has been covered by numerous artists, including the Ramones, Po!, America, the Hollies, the Nice, Eric Johnson, the Box Tops, Carl Verheyen, Jackson Browne & Joan Osborne, Marshall Crenshaw, Keith Jarrett, Steve Earle, La Mancha de Rolando, Dick Gaughan, and Anna Nalick. Austrian singer-songwriter Wolfgang Ambros recorded a version of the song named "Alt und Jung" ("Old and Young"). In 1995, the German rock musician Wolfgang Niedecken recorded a German-language (Kölsch language) cover of the song with the title "Vill Passiert Sickher" for his album Leopardefell. In addition, a Japanese-language cover by the Magokoro Brothers is included in the soundtrack of the Dylan film Masked and Anonymous. | [
"## Writing, recording and performance",
"## Cover versions",
"### The Byrds' version",
"### Other covers"
] | 2,225 | 25,831 |
15,659,153 | Steep, Hampshire | 1,151,306,972 | null | [
"Villages in Hampshire"
] | Steep is a village and civil parish in the East Hampshire district of Hampshire, England. Its nearest town is Petersfield, which lies 1.4 miles (2.3 km) south of the village, just off the A3 road. The nearest railway station is Petersfield, at 1.6 miles (2.6 km) south of the village. It has two public houses, The Harrow and the Cricketers Inn, with the former being an 18th-century Grade II listed building. According to the 2011 census, it had a population of 1,391.
Iron Age and Roman remains have been found in the area. Steep formerly included two detached exclaves, the larger called Ambersham, which lay deep inside Sussex. These were two of the three detached portions of Hampshire in Sussex, and were annexed to that county when a new law came into effect in 1844. The church of All Saints was built around 1125. From medieval times, Steep was included in the parish of East Meon until it became an independent parish in 1867. Since 1899 the village has been the location of Bedales, a progressive public school.
## History
### Prehistory to Roman
The village name has been spelled in various ways, including La Stuppe, La Stiepe, and Stupe (14th century) and Steepe (17th century). There is evidence of Roman occupation in the village, with pottery, coins, baths and a Roman villa being discovered on Bell Hill, directly opposite the village centre. A Roman earthworks ridge was also found on Stoner Hill, which suggests evidence of Roman roads passing through the causeway. Iron Age remains found in the area include pottery, boilers, and a site of a "sub-rectangular enclosure" found in Steep village centre. A Bronze Age barrow house was also excavated in the parish.
### Medieval to Tudor
The village was not mentioned in the Domesday Survey of 1086, however it was likely included under the entry of 'Menes'. (Meon)
Beginning at an unknown point in the medieval period, the territory of the village of Steep formerly included two detached parish exclaves the larger of which was called Ambersham. This was a narrow strip of land situated 10.3 miles (16.6 km) east in the county of West Sussex, situated between Midhurst and Petworth and running south from the Surrey border near Haslemere to near Graffham. Under the Counties Act of 1844, Ambersham was detached from Steep and made part of Sussex. For ecclesiastical reasons it had been split into two tithings or parish sub-divisions, North Ambersham and South Ambersham, and these became civil parishes. Ecclesiastically the former was annexed to Fernhurst, and the latter to Easebourne. The smaller of the two exclaves was a three-acre portion of Borden Wood in the Sussex parish of Chithurst, which was only united with the latter parish in 1883 because it had no inhabitants. Both of these detached portions were also exclaves of Hampshire.
There is no written evidence that Steep was settled until late in the Anglo-Saxon period, however in the early Anglo Saxon period the Meon Valley formed the Jutish Kingdom of Meonwara. In the medieval period Steep was a sub-parish of East Meon. so it too was probably a settlement of the Jutes and the Ambershams may well have been too.
Steep was first documented under the name of 'Stepe Place' in the 12th century. The church of All Saints was built around 1125. The oldest surviving dwelling in the village is the house known as "Restalls" which is on the eastern side of the church. It dates from the late 15th century, and was remodelled in 1600 (and in 1905 by the Arts and Crafts architect William Frederick Unsworth who lived here).
By 1600, Steep had a prospering local cloth-making industry and two fulling mills in operation, which were driven by the nearby Ashford Stream. The early 17th century was also described by historian William Page as a "great rebuilding" of the village, in which redevelopment of many wooden buildings were replaced by stone structures. However, a decline in the cloth-making industry caused a depression in the latter half of the 17th century, which resulted in the closure of both mills.
### 19th century to Second World War
By the 1830s the British Agricultural Revolution had disturbed traditional society and created a class of labourers who struggled to support their families in rural areas. This led to an unrest known as the Swing Riots which swept across southern England, consequently reaching Selborne and Liphook in September 1830. The Parliamentary Enclosure Acts of 1856 established a new land pattern for nearby Steep Marsh and Stroud, which still exists today. There was also extensive land drainage between 1860 and 1880; conduits and sluices were constructed to take water from Ashford Stream for the artificial flooding of hay meadows. In Steep, hops were grown for use in local breweries, watercress produced for commercial use, and a condensed milk factory was in operation in Steep Marsh.
Voluntary schools were built in Steep in 1875, and the first almshouses were constructed by William Eames in 1882. The first coeducational boarding school in England, Bedales School was constructed in 1899 at a cost of approximately £60,000, which at the time of 1912, had an enrolment of 160 children. However, another source described the school as being constructed in 1900, and was formerly located in Lindfield, West Sussex.
The First World War poet Edward Thomas lived in the village; his children attended Bedales and his wife also taught there.
The prominent English poet, author and artist Thomas Sturge Moore lived at "Hillcroft" in Steep from 1919 to 1927, while his children Daniel and Riette attended Bedales. Sturge Moore took an active interest in Bedales, giving readings, speaking at Sunday assemblies, and teaching a class in aesthetics in 1924–1925.
## Geography and demographics
Steep is located in the eastern part of southern Hampshire in South East England, 1.4 miles (2.3 km) north of Petersfield, its nearest town. The parish covers an area of 2,658 acres (1,076 ha), of which 1,222 acres (495 ha) are permanent grass, 443.7 acres (179.6 ha) of fertile land and 233 acres (94 ha) of woodland. The village is situated at the foot of the steep forested slopes of Stoner Hill and Wheatham Hill, which both lie on the western edge of the South Downs National Park. The parish has two streams; the first stream rises from Ashford Lodge and flows east to Steep Marsh, whereas a second stream rises at the foot of Wheatham Hill follows the northern boundaries of the parish, joining the first stream close to the village of Sheet. Two main roads run through the parish, from Petersfield to Farnham on the east and the Petersfield and Ropley road on the southwest, the latter winding up the steep slopes of Stoner Hill.
The soil is of marl, clay, and sandy loam, with the subsoil being gravel and sand. The prominent crops are wheat, barley, and oats, and a smaller number of hops. According to the 2011 census, Steep had a population of 849 people.
## Notable landmarks
The church of All Saints was first constructed in the 12th century and has some parts which still date to its original design. It has a chancel that measures 16 feet (4.9 m) by 13 feet (4.0 m), a nave which measures 50 feet (15 m) by 16 feet (4.9 m) and north and south aisles which run from 13 feet (4.0 m) to 5 feet (1.5 m) wide, respectively. The eastern bays of the south arcade of the nave date from 1180; however, it seems probable that the oldest masonry on the site belongs to an older church from either Colemore or Ropley. Before the north aisle was constructed, there is evidence to suggest that a wooden north-west tower existed.
In approximately 1200 a north aisle was added, with its width being determined by the projection of the north transept chapel, with the west and east walls taken down at the time. The different thickness of the walls in the present church suggests that the wall for the length of the first three bays of the arcade was taken down and rebuilt in the 13th century. The church underwent a restoration in 1839, with £370 being spent, and in 1875 at a cost of £2,377.
The churchyard contains six Commonwealth war graves from the First World War: two Royal Navy sailors, two Royal Air Force officers, a Royal Engineers officer and a Hampshire Regiment soldier.
The Harrow is a Grade II listed public house which was first built in the 18th century. It is on the Campaign for Real Ale's National Inventory of Historic Pub Interiors.
## Notable residents
- Bertha Brewster (1887-1959), suffragette
- Thomas Sturge Moore (1870-1944) - Poet, author, critic.
- Thomas Jeeves Horder, 1st Baron Horder of Ashford (1871-1955) - Royal physician.
- Edward Thomas (1878-1917) - Anglo-Welsh poet. | [
"## History",
"### Prehistory to Roman",
"### Medieval to Tudor",
"### 19th century to Second World War",
"## Geography and demographics",
"## Notable landmarks",
"## Notable residents"
] | 2,039 | 21,426 |
3,647,556 | Saskatchewan Highway 7 | 1,171,567,198 | Highway in Saskatchewan | [
"Saskatchewan provincial highways",
"Streets in Saskatoon"
] | Saskatchewan Highway 7 is a major paved undivided provincial highway in the Canadian province of Saskatchewan, running from the Alberta border to Saskatoon. Highway 7 continues west into Alberta where it becomes Alberta Highway 9.
Highway 7 is an important trade and travel route linking Saskatoon with several of its bedroom communities such as Delisle and Vanscoy, as well as larger centres farther afield such as Rosetown and Kindersley. Its primary use, however, is by travelers heading for Calgary, Alberta and the Canadian west coast.
Despite being one of the most heavily used roads in the province, as of 2020, there is only approximately 36.5 km of the route that is divided highway; 34.5 km from Saskatoon to Delisle, including a recently completed bypass of Vanscoy, and 2 km just east of Rosetown at the Rosetown Airport and Cargill inland terminal. In 2020, the provincial government announced funding to install eight passing lanes east of Kindersley, as well as further plans for an additional six to the west, bringing the total number of passing lanes to 26 along the corridor and helping to improve safety until such a time as twinning the highway is financially feasible and traffic volumes require such. Extensive oil exploration and development has been occurring since 2010, primarily in the Kindersley Region, from Brock to the Alberta Border. Heavy traffic, agriculture, grain transport, and oilfield service, as well as oil and fuel transports, are common on this highway. Agriculture, and oilfield services are the main industries of the area. The only District hospital on Hwy 7 is located at Kindersley.
Agrium Vanscoy Potash Operations is Canada's third largest producer of potash fertilizer. In the 1930s early homesteaders would maintain Highway 7 as a means to supplement their income. Provincial Highway 7 followed the Canadian Northern Railway grade for direction of travel with the actual road way being on the square on the Dominion survey township lines. Highway 7 was widened in 1944 and rebuilt between 1960 and 1961.
Highway 7 currently terminates at its junction with 22nd Street West (Highway 14) in west Saskatoon, although it is marked to run concurrently to Highway 11 (Idylwyld Drive). In 2005, work began on realigning Highway 7 in order to make way for the Blairmore Suburban Centre development including the Bethlehem High School, Tommy Douglas Collegiate and the Shaw Centre located where Highway 7 linked with 22nd Street prior to 2006.
## Route description
The entirety of Highway 7 is a primary weight asphalt concrete (AS) national highway within the Ministry of Highways and Infrastructure (SHS) West Central Municipal Government Committee planning jurisdiction. Travel on Highway 7 begins in the west at the Alberta - Saskatchewan provincial border through the Missouri Coteau which features mixed prairie vegetation. Entering Alberta, the highway continues west as Alberta Highway 9. Alsask is a village of about 150 people on the border and Highway 44. The Military Dome site radar station is a heritage site and has been acquired by Alsask along with the 1960s airforce base. At Alsask, Highway 7 turns northeast until km 3.9 when again the highway is routed east. Again at km 6.1 the highway turns northeast until km 19.8 just past the intersection with Highway 317. Marengo, a small village of about 50 residents is 0.8 kilometres (0.50 mi) north of the junction. Highway 7 continues for several kilometres east reaching the village of Flaxcombe, which has a population of just over 100. Highway 307 north provides access to the villages of Coleville and Smiley. This area belongs to the West Central Regional Economic Development Authority (REDA). The town of Kindersley is the largest center featuring both oil and agricultural industries along Highway 7 and with a population of about 4,500 is almost at city status of 5,000 residents. As of 2009, the Average Annual Daily Traffic (AADT) ranges from approximately 1,600 to 2,000 vehicles per day (vpd) near the Alberta-Saskatchewan border to over 3,000 vpd near Kindersley, updated statistics, and vehicle types in 2013 show evidence that the 2009 vehicle count is out of date and severely understates actual traffic flow. Due to its being a key route between Calgary, the fast-growing city of Saskatoon, and economic drivers such as regional oil activity, inland grain terminal locations adjacent to Hwy 7, and Saskatchewan's strong economy, this highway's capacity is under pressure.
Continuing east, Highway 7 comes to a short 1.6 kilometres (0.99 mi) concurrency between Highway 658 south and Highway 658 north. The village of Netherhill is also located between the Highway 658 junction and Highway 30 junction. Highway 30 south provides access to the village of Brock. The highway takes a few gentle curves north east at km 106.1 through the unincorporated areas of Fiske and McGee to the junction with Highway 4. Rosetown is a town about half the size of Kindersley located at this junction. The Goose Lake Plain landscape area of the Moist Mixed Prairie ecoregion is the main feature between Rosetown and Saskatoon. The bearing of the highway continues northeast until the town of Zealandia whose population is hovering around 100 people. After Zealandia, the highway continues in a north-northeast direction coming to junction with Highway 768 north and the junction with Highway 655 west and with Highway 655 south. The village of Tessier is next along this northeast section of highway, and then Delisle. Delisle, a town, with a population of about 800 residents is located at the intersection of Highway 7, Highway 45 south, and Saskatchewan Highway 673 on the east side of town. The AADT along the route fluctuates between 2,000 and 3,000 vpd until Delisle. The newly aligned intersection Highway 673 is near the beginning of the divided highway leading to Saskatoon. The corner of Highway 672 south and Highway 762 eastintersects the old Highway 7 at the village of Vanscoy. Agrium Vanscoy Potash Mine is located 32 kilometres (20 mi) southwest of Saskatoon, just to the northwest of Vanscoy. The potash mine was established in 1931 as Cominco Fertilizers Ltd. changing names in 1995 to Agrium Inc., the nation's third largest producer of potash The AADT on Highway 7 near Vanscoy increases to over 5,600 vpd. Both Highway 762 provides access to Pike Lake Provincial Park. Highway 7 continues northwesterly arriving at a split intersection, initially built with the potential to be upgraded to an interchange at km 249.7 with Highway 60 south. The highway then crosses the Canadian National rail lines on an overpass, and intersects 11th Street followed by an at-grade crossing of the Canadian Pacific line. This twinned section of the highway handles between 7,000 and 12,000 vpd on average throughout the year. The 11th Street West intersection provides access from the south end of the City of Saskatoon to Highway 7. Highway 7 now ends at Highway 14 at the west end of Saskatoon: at a split intersection that includes the southern terminus for SK 684 (Neault Road); an interchange is planned for this location in the future. This is the new Blairmore Suburban Development Area (SDA) hosting seven new neighbourhoods and anchoring future growth on Saskatoon's west end.
## History
The Old Bone Trail was the name of the red river cart trail between Saskatoon and Rosetown. The Saskatchewan Highway Act was established in 1922, in compliance with the 1919 Canadian highway act. At the initial stages of the Saskatchewan Highway Act, 10 miles (16 km) of provincial highways were gravel and the rest were earth roads. The road allowances were laid out as a part of the Dominion Land survey system for homesteading. Travel along the Provincial Highway 7 before the 1940s would have been traveling on the square following the township road allowances, barbed wire fencing and the Canadian Northern rail line. As the surveyed township roads were the easiest to travel, the first highway was designed on 90-degree, right-angle corners as the distance traversed the prairie along range roads and township roads.
Mr. Ralph Glen Chapman an early 20th century settler in Pleasant Valley maintained 10 miles (16 km) of Highway 7. Mr. Block of the German Mennonite settlement at Fiske maintained a stretch of Highway 7 as a means of supplementing his income in the 1930s. In 1939, Andy Anderson in the same fashion, kept a 10 miles (16 km) stretch of Highway 7 clear.
In 1944 the widening of Highway 7 was undertaken. The Elma rural municipality (R.M.) requested that an automatic warning system should be established at the level crossing of the Canadian National Railway and Highway 7. At this same time, the rural municipality requested that the hills be gravelled which are situated on either side of Flaxcombe. The third concern in 1948 was to construct an all-weather highway between Kindersley and Alsask, and this too was requested of the Department of Highways (DOH). In 1950, the rates of pay for roadwork were 60 cents an hour for a single labourer, 80 cents an hour for man and two horses, a labourer with four horses would earn C\$1.00 per hour and for man with six horses \$1.20 per hour In the 1950s the R.M. provided grants to the local snow plough club to keep the highway clear after storms. The 1951 oil strike at Coleville resulted in a Husky service station and bulk plant opening at Flaxcombe on Highway 7 in 1955. It was located on the railroad to facilitate loading crude oil into rail cars. Highway 7 was rebuilt between 1960 and 1961. Highway 7 currently terminates at its junction with 22nd Street West (Highway 14) in west Saskatoon. In 2005, work began on realigning Highway 7 in order to make way for the Blairmore Suburban Centre development including the Bethlehem High School, Tommy Douglas Collegiate and the Shaw Centre located where Highway 7 linked with 22nd Street prior to 2006. Starting in 2006, Highway 7 was linked with Betts Avenue, a new city street, which in turn intersected 22nd Street at a traffic signal. The city and province built an intersection farther west (but still with the city limits) at the junction of Highway 14 and Highway 684 (Dalmeny Road), at which point the new Highway 7 alignment links with this intersection. Long-term plans call for an interchange to be constructed here, and a link to be created from Highway 684 to the Yellowhead Highway in Saskatoon's north side, though it has not yet been announced whether the Highway 7 designation will be applied north of Highway 14.
## Major intersections
From west to east: | [
"## Route description",
"## History",
"## Major intersections"
] | 2,387 | 30,667 |
12,466,302 | Hanpu | 1,153,327,560 | Jurchen clan leader | [
"Jurchen chieftains",
"Year of birth unknown",
"Year of death unknown"
] | Hanpu (Chinese: 函普; pinyin: Hánpǔ), later Wanyan Hanpu (Chinese: 完顏函普), was a leader of the Jurchen Wanyan clan in the early tenth century. According to the ancestral story of the Wanyan clan, Hanpu came from Goryeo when he was sixty years old, reformed Jurchen customary law, and then married a sixty-year-old local woman who bore him three children. His descendants eventually united Jurchen tribes into a federation and established the Jin dynasty in 1115. Hanpu was retrospectively given the temple name Shizu (始祖) and the posthumous name Emperor Yixian Jingyuan (懿憲景元皇帝) by the Jin dynasty.
Chinese historians have long debated whether Hanpu was of Silla, Goryeo, or Jurchen ethnicity. Since the 1980s, they have chiefly argued that he was a Jurchen who had lived in Silla, the state that had dominated the Korean peninsula until it was destroyed by Goryeo in 935. Western scholars usually treat Hanpu's story as a legend, but agree that it hints to contacts between some Jurchen clans and the states of Goryeo and Balhae (a state located between Jurchen lands and Silla until it was destroyed in 926) in the early tenth century. In Korea, a recent KBS history special treated Hanpu as a native Silla man who moved north and settled in Jurchen lands during the demise of Silla.
## Name
Hanpu is known under different transliterations in Chinese sources. He is called Kanfu (龕福) in the Songmo Jiwen (松漠紀聞; after 1155), the memoirs of a Song Chinese ambassador who was forced to stay in Jin territory for more than 10 years starting in 1131. The Shenlu Ji 神麓記, a lost book cited in the Collected Documents on the Treaties with the North during Three Reigns (三朝北盟會編; c. 1196), refers to him as Kenpu (掯浦), whereas Research on the Origin of the Manchus (滿洲源流考; 1777) calls him Hafu (哈富).
## Ancestor of the Wanyan clan
Because the early Jurchens had no written records, the story of Hanpu was first transmitted orally. According to the History of Jin (compiled in the 1340s), Hanpu was originally from Balhae. He arrived from Goryeo at the age of sixty and settled among the Jurchen Wanyan clan. Other sources claim that Hanpu was from Silla, the state that had ruled the Korean peninsula but was annexed by the kingdom of Goryeo in 935. The same story recounts that when Hanpu left Goryeo, his two brothers remained behind, one in Goryeo and one in the Balhae area. Because the Jurchens considered Hanpu to be the sixth-generation ancestor of Wanyan Wugunai (1021–1074), historians postulate that Hanpu lived in the early tenth century, when the Jurchens still consisted of independent tribes, or sometime between the founding of Goryeo in 918 and its destruction of Silla in 935.
The Wanyan clan then belonged to a group of Jurchen tribes that Chinese and Khitan documents called "wild", "raw", or "uncivilized" (shēng 生). These "wild Jurchens" lived between the Changbai Mountains in the south (now at the border between North Korea and Northeast China) and the Sungari River in the north, outside the territory of the rising Liao dynasty (907–1125) and little influenced by Chinese culture.
To resolve an endless cycle of vendettas between two clans, Hanpu managed to make both parties accept a new rule: from then on, the family of a killer would compensate the victim's relatives with a gift of horses, cattle, and money. Historian Herbert Franke has compared this aspect of Jurchen customary law to the old Germanic practice of Wergeld. As a reward for putting an end to the feuds, Hanpu was married to a sixty-year-old woman who then bore him one daughter and two sons. A lost book called the Shenlu Ji states that Hanpu's wife was 40 years old. Hanpu and his descendants were then formally received into the Wanyan clan.
## Hanpu's ethnicity
Chinese scholars have debated the ethnicity of Hanpu. They usually agree that Hanpu's "coming from Goryeo" does not mean he was of Goryeo ethnicity, since Goryeo territory was populated by several ethnic groups back then. The people of the time did not always distinguish between state and ethnic group, so that in modern terms Hanpu may have been a Jurchen from the state of Silla, a man of Goryeo, or a Silla man. According to Songmo Jiwen, Hanpu's surname was already Wanyan before he moved from Goryeo. Historian Sun Jinji has therefore argued that Hanpu was a Jurchen whose family had lived in Silla and then Goryeo before moving back to Jurchen land. Chinese historians Menggutuoli and Zhao Yongchun both argue that Hanpu's ancestors were Jurchens who had lived in Silla and had been absorbed into Goryeo after the latter defeated Silla. Furthermore, Zhao theorizes that Wanyan Yingge calling Goryeo his "parent country" may have been part of the Jurchens' diplomatic efforts to obtain Goryeo's help in fighting the Liao dynasty.
Meanwhile, some Korean scholars support the idea that Hanpu was likely an ethnic Sillan from Goryeo that fled north towards Jurchen territories during the Later Three Kingdoms. Overall, it is believed that his ethnicity is unclear. Korean historians such as Kang Jun-young and Kim Wi-hyeon, as well as Chinese historians such as Jin Yufu also weigh on the hypothesis that Hanpu was likely "a man of Silla" that lived in the Goryeo dynasty following Silla's downfall. According to official Qing dynasty sources, the founder of Jin was from either Silla or Goryeo but came from the Tungusic Sushen tribes.
The annals of King Yejong (r. 1105–1122) in the History of Goryeo report that Wanyan Wugunai's son Yingge (盈歌; 1053–1103) considered Goryeo as his "parent country" (父母之邦) because his clan's ancestor Hanpu had come from Goryeo. However Wanyan Yingge initiated an invasion of the Korean peninsula and Yingge's paternal nephew Wanyan Wuyashu fought against the Koreans, forcing them to submit and recognize Jurchens as overlords after "pacifying" the border between the Koreans and Jurchens.
Western scholars usually consider Hanpu's story legendary. Herbert Franke explains that this Jurchen "ancestral legend" probably indicates that the Wanyan clan absorbed immigrants from Goryeo and Balhae sometime in the tenth century. Frederick W. Mote, who calls this account of the founding of the Wanyan clan a "tribal legend", claims that Hanpu's two brothers (one who stayed in Goryeo and one in Balhae) might have represented "the tribe's memory of their ancestral links to these two peoples." One Western historian of Jurchens has even proposed that Hanpu was not even from the Korean peninsula, instead what really happened was that a power on the peninsula ruled the Jurchen tribe he came from, or that he was from the Eastern Jurchens (Changbai Mountain Jurchens) who did not live in the Korean peninsula.
## Legacy
The Wanyan clan rose to prominence among the Jurchens after 1000 CE. Hanpu's sixth-generation descendant Wanyan Wugunai (1021–1074) started to consolidate the dispersed Jurchen tribes into a federation. Wugunai's grandson Aguda (1068–1123) defeated the Jurchens' Khitan overlords of the Liao dynasty and founded the Jin dynasty in 1115. By 1127, the Jin had conquered all of north China from the Song dynasty.
In 1136 or 1137, soon after Emperor Xizong of Jin (r. 1135–1150) had been crowned, Hanpu was given the posthumous name "Emperor Jingyuan" (景元皇帝) and the temple name "Shizu" (始祖), meaning "first ancestor." In 1144 or 1145, Hanpu's burial site was named "Guangling" (光陵). In December 1145 or January 1146, his posthumous title was augmented to that of "Emperor Yixian Jingyuan" (懿憲景元皇帝).
## Family members
Hanpu's wife posthumously received the title of Empress Mingyi 明懿皇后 in 1136. The History of Jin, an official history that was compiled by Mongol scholar Toqto'a in the 1340s, lists Hanpu's family members as follows:
Children:
- Wulu 烏魯 (eldest son and successor)
- Wolu 斡魯 (second son)
- Zhusiban 注思板 (daughter)
Siblings:
- Agunai 阿古廼 (elder brother, who is said to have liked Buddhism and to have stayed in Goryeo when Hanpu left)
- Baohuoli 保活里 (younger brother) | [
"## Name",
"## Ancestor of the Wanyan clan",
"## Hanpu's ethnicity",
"## Legacy",
"## Family members"
] | 2,103 | 19,933 |
11,892,750 | North Carolina Highway 98 | 1,169,900,158 | State highway in North Carolina, US | [
"State highways in North Carolina",
"Transportation in Durham County, North Carolina",
"Transportation in Franklin County, North Carolina",
"Transportation in Nash County, North Carolina",
"Transportation in Wake County, North Carolina",
"U.S. Route 15",
"U.S. Route 501"
] | North Carolina Highway 98 (NC 98) is a primary state highway in the U.S. state of North Carolina and a semi-urban traffic artery connecting Durham, Wake Forest, and Bunn as well as many small to medium-sized towns in the north portion of The Triangle region of North Carolina. Running from downtown Durham, the route leaves the city to the east, running into a rural area near Falls Lake. As the road approaches Wake Forest, it widens to a four-lane divided highway and runs along the southern side of the city. Once leaving Wake Forest NC 98 becomes a two lane road again, running through rural areas east of Bunn. After a short concurrency with NC 39, NC 98 continues southeast to reach its eastern terminus at US 64 Alternate and NC 231 west of Spring Hope.
NC 98 first appeared in 1930 as a state route connecting NC 91 and NC 102 in the coastal region of North Carolina. That routing was abolished in 1931 in favor of an extended NC 58. The current routing of NC 98 was established in 1934 with the road's western terminus at NC 91 (present-day Jones Dairy Road) to US 64 west of Spring Hope. In 1941, NC 98 was moved to a new section of road running from Zebulon Road to US 1 in Youngsville, which would later become part of NC 96. In 1952, NC 98 was again relocated along NC 264 through Wake Forest to Durham, and NC 96 took over its abandoned section. In 2003, a bypass was completed around Wake Forest leading to the rerouting of mainline NC 98 to the bypass and the establishment of a business route through the town center.
## Route description
NC 98 begins at US 15 Business/US 501 Business in downtown Durham. The eastbound lanes of the road begin at Roxboro Street, however the westbound lanes continue to Magnum Street along a one-way road. From its terminus, the road heads east along Holloway Street, following a concurrency with US 70 Business. Holloway Street continues to the I-885/US 70 interchange, where the US 70 Business concurrency ends. NC 98 continues running along Holloway Street, until intersecting Clayton Road, where it then become Wake Forest Highway. Wake Forest Highway continues to be the name for NC 98 throughout Durham County. The highway passes by Oak Grove Elementary School and Neal Middle School on the outskirts of Durham. Before leaving Durham County, the road passes over an extension of Falls Lake.
As the highway enters Wake County, the name changes to Durham Road, which stays the name of the road until Wake Forest. After an intersection with Old Creedmoor Road, NC 98 and NC 50 have a cloverleaf interchange. Continuing to the east, the road intersects Six Forks and New Light Roads, before once again crossing over Falls Lake. After passing by several neighborhoods and crossing over Falls Lake two more times, the road intersects Thompson Mill Road, where it widens from a two lane road to a four lane divided highway. After about one-half mile (0.80 km), the road intersects both Old Falls of Neuse Road and NC 98 Business. The name Durham Road changes to follow NC 98 Business and NC 98 continues to become the Dr. Calvin Jones Highway. After passing by the Wakefield neighborhood, the road has a single-point urban interchange with US 1 (Capital Boulevard). Continuing straight it goes on to intersects Galaxy Drive, US 1A (South Main Street), Franklin Street, and Heritage Lake Road, before meeting back up with NC 98 Business at the Wait Avenue/Jones Dairy Road intersection. After the intersection, NC 98 changes back into a two lane road, carrying the Wait Avenue name. The highway passes through a very rural area east of Wake Forest, with a few neighborhoods present. Wait Avenue intersects Averette Road at a stoplight, and then continues on to intersect NC 96 just north of Rolesville.
Continuing with the same Wait Avenue name into Franklin County, the highway intersects US 401 at an intersection with slip ramps. From there the road continues to go through a rural area east of Bunn with very few neighborhoods nearby. As the road enters into the downtown areas of Bunn, its name changes to Jewett Avenue. The road travels through a mainly residential area of the town before intersects NC 39 in the center of town. NC 98 turns right onto South Main Street to begin a concurrency with NC 39, which it follows for a little over one mile (1.6 km). South Main Street runs through the main commercial center of the town, and passes by Bunn High School before NC 39 turns off to the south. NC 98 continues southeast along its own highway, toward Spring Hope running through very rural areas of Nash County. As the highway reaches its terminus, a few houses appear along the southern side of the road. NC 98 has its eastern terminus at an intersection with US 64 Alternate, which continues east to Spring Hope and south to the US 64 freeway. This spot also marks the northern terminus of NC 231.
## History
NC 98 was established in 1934 as a renumbering of a section of NC 581; from NC 91 (Jones Dairy Road) in Wake Forest to US 64 west of Spring Hope. In 1940, it was truncated to a relocated NC 91 (Zebulon Road), with its routing west into Wake Forest becoming part of NC 91. In 1941, NC 98 was extended north as a new primary routing to US 1 in Youngsville. In 1952, NC 98 was rerouted west through Wake Forest ending in Durham, replacing NC 264; its former alignment became part of NC 96.
In 1975, NC 98 was rerouted in Durham: replacing the old alignment to US 15 Business/US 501 Business via Miami Boulevard and Geer Street, to Holloway Street (westbound)/Chapel Hill Street-Liberty Street (eastbound) and its current western terminus. In 1978, NC 98 replaced part of US 64's routing to its current eastern terminus. In 1981, part of NC 98 was abandoned and placed on new construction as a result of the creation of Falls Lake; remnants of the old alignment that were not submerged became secondary roads. In 2006, NC 98 was rerouted south along US 1 and onto a new four-lane bypass south of Wake Forest to Jones Dairy Road; its old alignment becoming NC 98 Business. In 2011, NC 98 was removed from US 1 and placed onto new construction east of Falls of Neuse Road; NC 98 Business was also realigned, starting further east along a new alignment of Durham Road.
The first NC 98 was established in 1930 as a new primary routing from NC 91 near Wilson, to NC 102 near Snow Hill. In 1931, it was decommissioned in favor of becoming part of NC 58.
### North Carolina Highway 264
North Carolina Highway 264 (NC 264) was formed in 1941 as a renumbering of NC 91. It went from the intersection at Roxboro and Greer streets in Durham to US 64/US 264 in Zebulon. It was renumbered in 1952. The route from current NC 98 to Zebulon was renumbered as NC 96. The rest of the route was renumbered as NC 98.
## Future
As of March 2017, NCDOT is conducting a study about the future of a 27-mile-long (43 km) stretch of the highway from US 70 in Durham to US 401 north of Rolesville. A public study is open until April 2017 but the study will not conclude until July 2018. At that point, the study group will recommend improvements to NC 98.
## Major intersections
## Special routes
### Wake Forest business loop
North Carolina Highway 98 Business (NC 98 Bus.) begins at the NC 98/Old Falls of Neuse Road intersection just north of Wakefield. The road runs northeast along the western edge of the Crenshaw Hall Plantation neighborhood. After about one-half mile (0.80 km) the road turns a more eastern direction following the old routing of NC 98 (Durham Road). The road has an interchange with US 1 (Capital Boulevard) in the western sections of Wake Forest. NC 98 Business continues to the east toward downtown Wake Forest. Once reaching downtown the road runs along the southern side of the Southeastern Baptist Seminary before having a roundabout intersection with US 1A. US 1A joins NC 98 Business and continues along the eastern side of the seminary. NC 98 Business turns right onto Roosevelt Avenue and enters downtown Wake Forest. The road merges into Wait Avenue and continues east out of downtown Wake Forest. Just before the road ends at NC 98 the road makes a 90 degree right turn before ending at the NC 98/Jones Dairy Road/NC 98 Business intersections. The road name Wait Avenue continues along NC 98 east.
NC 98 Business was first created running along Wait Avenue through Downtown and met NC 98 at the US 1A roundabout. This was a renumbering of NC 98 as the first sections of the Wake Forest bypass were put into place. As NC 98 was expanded to US 1, NC 98 Business expanded to cover all of the previous NC 98 routing east of US 1 and west of Jones Dairy Road. In September 2010 the third segment of NC 98 was opened from US 1 to Thompson Mill Road with the old routing between Thompson Mill Road and Fawn Drive being torn up and replaced with new routing which became NC 98 Business.
Junction list | [
"## Route description",
"## History",
"### North Carolina Highway 264",
"## Future",
"## Major intersections",
"## Special routes",
"### Wake Forest business loop"
] | 2,065 | 11,546 |
38,833,990 | Uncanny Stories (magazine) | 1,062,076,509 | US pulp science fiction magazine | [
"Defunct science fiction magazines published in the United States",
"Fantasy fiction magazines",
"Magazines disestablished in 1941",
"Magazines established in 1941",
"Pulp magazines",
"Science fiction magazines established in the 1940s"
] | Uncanny Stories was a pulp magazine which published a single issue, dated April 1941. It was published by Abraham and Martin Goodman, who were better known for "weird-menace" pulp magazines that included much more sex in the fiction than was usual in science fiction of that era. The Goodmans published Marvel Science Stories from 1938 to 1941, and Uncanny Stories appeared just as Marvel Science Stories ceased publication, perhaps in order to use up the material in inventory acquired by Marvel Science Stories. The fiction was poor quality; the lead story, Ray Cummings' "Coming of the Giant Germs", has been described as "one of his most appalling stories".
## Publication history
Although science fiction had been published before the 1920s, it did not begin to coalesce into a separately marketed genre until the appearance in 1926 of Amazing Stories, a pulp magazine published by Hugo Gernsback. After 1931, when Miracle Science and Fantasy Stories was launched, no new science fiction magazines appeared until August 1938, when Abraham and Martin Goodman, two brothers who owned a publishing company with multiple imprints, launched Marvel Science Stories. The Goodmans' magazines included several "weird-menace" pulps—a genre known for incorporating sex and sadism, with story lines that placed women in danger, usually because of a threat that appeared to be supernatural but was ultimately revealed to be the work of a human villain. The influence of the "sex and sadism" side of the Goodman's portfolio of magazines was apparent in Marvel Science Stories: it was not strictly a weird-menace pulp, but authors were sometimes asked to add more sex to their stories than was usual in the science fiction field at the time. Marvel Science Stories ceased publication with its April 1941 issue, and the Goodmans brought out the only issue of Uncanny Stories the same month. Like Marvel Science Stories, it was edited by Robert O. Erisman. The quality of the fiction was very poor—sf historian Mike Ashley comments that Ray Cummings' lead story, "Coming of the Giant Germs", was "one of his most appalling stories". Ashley speculates that the only reason the magazine was issued was to use up some remaining material that had been acquired for Marvel Science Stories, perhaps because at this time the Goodmans were beginning to focus much more on the growing comic-book market.
In addition to Ray Cummings, contributors included David H. Keller, F.A. Kummer, R. DeWitt Miller, and Denis Plimmer. The story titles were not as strongly oriented towards sex as some of the other Goodman publications, which included titles such as "Blood-Brides of the Lusting Corpses", but Erisman did spice up some of the titles: for example, he changed Keller's story "The Chestnut Mare" to "Speed Will Be My Bride".
Illustrations were by Jack Kirby and Joe Simon.
## Bibliographic details
Uncanny Stories was in pulp format, 112 pages, and priced at 15 cents; the only issue was numbered volume 1, number 1. The publisher was Manvis Publications of New York; the editor was Robert O. Erisman.
Copy available on the Internet Archive at | [
"## Publication history",
"## Bibliographic details"
] | 658 | 9,295 |
39,811,576 | Blood on the Leaves | 1,167,831,499 | null | [
"2013 songs",
"Anti-abortion movement in the United States",
"Industrial songs",
"Kanye West songs",
"Nina Simone",
"Song recordings produced by Hudson Mohawke",
"Song recordings produced by Kanye West",
"Song recordings produced by Mike Dean (record producer)",
"Songs about abortion",
"Songs written by Cyhi the Prynce",
"Songs written by Hudson Mohawke",
"Songs written by Kanye West",
"Songs written by Mike Dean (record producer)"
] | "Blood on the Leaves" is a song by American hip hop recording artist Kanye West from his sixth studio album Yeezus (2013). In the song, West presents his thoughts on how fame can cause the destruction of relationships, while making comparisons of contemporary times to the lynching of African Americans in the United States during the pre-civil rights era. West delivers his vocals through an Auto-Tune processor, like on his 2008 album 808s & Heartbreak. It contains samples of both singer Nina Simone's 1965 rendition of Billie Holiday's song "Strange Fruit", and "R U Ready" by the duo TNGHT, who co-produced the track.
The song received universal acclaim from music critics, with many commenting on its lyrical message and praising its samples. It was named one of the best tracks of 2013 by multiple publications. Pitchfork later placed the track on their list of the 200 best songs of the 2010s. Despite not being released as a single, the song managed to enter charts in the United States, United Kingdom, France, and Australia in 2013. A music video was set to be directed by American filmmaker David Lynch, but plans were abandoned. Since its release, West has performed the song live on multiple occasions, including at the 2013 MTV Video Music Awards and on the 2016 Saint Pablo Tour.
## Background and composition
The song features production by the musical duo TNGHT, consisting of Scottish producer Hudson Mohawke and Canadian producer Lunice. Mohawke had previously worked with West on the 2012 GOOD Music collaboration "Mercy", along with other tracks on the compilation album Cruel Summer (2012). After working on Yeezus, Mohawke was introduced to an entirely new approach to songwriting. According to Mohawke, the duo's song "R U Ready", which is sampled in "Blood on the Leaves", was one of the first songs the two recorded together and was also one of the first pieces of music the duo sent to West to sample.
West had previously sampled the work of Nina Simone on the 808s & Heartbreak track "Bad News" and the Watch the Throne collaborative track "New Day" with Jay-Z. Rapper Travis Scott viewed West as "a genius" and the only person who would think of combining "Strange Fruit" with a Hudson Mohawke beat in the "crazy-ass song". When he first heard the combination, Travis Scott "was jumping on niggas' backs and shit, like, 'Ahhhh!'".
"Blood on the Leaves" is a hip hop song in which West delivers his vocals through an Auto-Tune processor, similar to his 2008 album 808s & Heartbreak. The song begins with a sample of singer and civil rights activist Nina Simone's 1965 rendition of "Strange Fruit" by Billie Holiday over rolling piano chords, after which West's vocals begins. After one minute, the song unleashes horns taken from musical duo TNGHT's song "R U Ready", along with animal growls that play sporadically throughout the rest of the song. He later interpolates the hook of rapper C-Murder's 2000 song "Down for My N's." West's verses center around the perils of fame, conspicuous consumption and drug-addled romance. He raps lyrics which have been speculated as a possible reference to Jay-Z being unfaithful to his wife Beyoncé.
## Release
"Blood on the Leaves" was released on June 18, 2013, as the seventh track on West's sixth studio album Yeezus. According to Mohawke, "Blood on the Leaves" was originally intended to be the album's opener instead of "On Sight", but was changed "at the last minute" due to "the message ["On Sight"] puts across that [Yeezus] is a very different record." In November 2013, Mohawke announced via Twitter that the song was to-be released as the next single for the album, after "Bound 2" in August 2013. That same month, West subsequently announced the release during an appearance on 92.3 NOW. David Lynch stated his intentions to direct a music video for "Blood on the Leaves" due to his fondness for the song, but plans were abandoned after Lynch "never got [any] ideas."
## Critical reception
The song received universal acclaim from music critics, with many commenting on its lyrical message and praising its samples. When reviewing the album for HipHopDX, Justin Hunte wrote that "Blood on the Leaves" is "[the] one song [from Yeezus] that must be heard immediately." The staff of Popdust rated the song three and a half out of five, describing it as "an epic Yeezy tale about a relationship gone sour over issues of money and celebrity and bad timing and possibly even an unwanted child, depending on how you interpret the final verse." The song was branded by Jon Dolan of Rolling Stone as being "a buzzing, bluesy, static-y track." The song impressed director David Lynch: "I think it's one of the most modern pieces and so minimal, so powerful but at the same time so beautiful. It's a great, great song." Gil Kaufman of MTV called "Blood on the Leaves": "a churning anthem about conspicuous consumption" and: "[an] example of West's signature dichotomy in which he melds the sacred and profane." The original version of Nina Simone's "Strange Fruit" recorded by Billie Holiday in 1939 has been deemed: "shorthand for music that deals with racial injustice."
Ryan Dombal of Pitchfork called the song the "album pinnacle" and "a nightmarish story of divorce and betrayal," while Jody Rosen of Vulture stated that: "[West is] well aware how audacious to interpolate that sacred song into a monstrously self-pitying ... a melodrama about what a drag it is when your side-piece won't abort your love child." Nicholas Troester of conservative magazine First Things labeled the song as an "anti-abortion anthem" and thought the focus of the song is: "the tremendous selfishness of adults who cannot understand the importance of families or children."
### Accolades
The song was named among the best tracks of 2013 by multiple publications. Rolling Stone ranked the song at number 20 on their list of the 100 Best Songs of 2013. Pitchfork ranked the song at number 11 on their list of the 100 Best Songs of 2013, writing: "Blood on the Leaves", more than anything else on Yeezus, melds repulsive content and magnetic music into a strike that leaves the taste of real blood in your mouth" and calling it "a conceptual enigma." XXL magazine ranked the song at number 24 on their list of the 25 best songs of 2013, writing: "Mixing personal memories of a menacing relationship with the horrors of lynching for a record is often looked at as a blasphemous feat at first—but Kanye West made the combination work. Sampling Nina Simone's 'Strange Fruit', West's 'Blood on the Leaves'...was a gorgeous metaphor of a failed relationship touted with bass, towering horns, and auto-tune effect reminiscent of '808s & Heartbreak'." Spectrum Culture named it the 23rd best song of 2013, commenting;"it’s singles like “Blood on the Leaves” that offer fans a glimpse into the fears and insecurities of an artist who seems to always put forth a confident demeanour." Time Out listed "Blood on the Leaves" as West's 12th greatest song in March 2018. In 2019, Pitchfork ranked "Blood on the Leaves" at number 155 on their list of the 200 best songs of the 2010s, writing, "[The song] is a microcosm of what made Kanye both great and awful this decade", praising its beat, samples, vocals, and lyrics. Rolling Stone placed it at 75 on its list of the 100 best songs of the 2010s.
## Commercial performance
Upon the album's release, the track charted at number 91 on the US Billboard Hot 100 and disappeared from the chart afterwards until making a re-entry at its peak position of number 89 on September 14, 2013. The track charted at number 28 on the US Billboard Hot R&B/Hip-Hop Songs chart initially, then went on to peak at number 27 in the same week as reaching its peak position on the Hot 100 and spent a total of five weeks on the chart. "Blood on the Leaves" was certified Gold in the United States in 2015, despite West releasing no album that year. It was later certified Platinum in the United States in 2018. In France, the track debuted at number 131 on the SNEP chart upon the release of Yeezus. It entered at number 174 on the UK Singles Chart.
## Live performances
West performed the song live at the 2013 MTV Video Music Awards. He was originally supposed to perform "Black Skinhead", though changed to performing "Blood on the Leaves" instead shortly before the show. The performance was notable for its minimal lighting and forest-themed backdrop. Moments before taking the stage, West posted a photo of the backcloth on Twitter with the caption; "it's a tree that was used for lynching." Later he posted a message on his website, "This tree was used for lynching. Those who were murdered are buried in the ground around the tree. Blood on the leaves." The song was performed live by West on Later... with Jools Holland in September 2013; this performance was singled out for praise by Bruce Springsteen during an interview with NPR, who called it "fantastic". West omitted Jay-Z's name from the song's lyrics when performing it live at the X Games Austin 2014 Music Festival, where his name was also omitted from the lyrics of "Cold". Other live performances include Glastonbury in June 2015 and on the Saint Pablo Tour in August 2016.
## Cover version and remixes
American musician Raury covered the song during his appearance on Hot 97 in September 2014. A version titled "Blood on the Leaves (DOGMA remix)" was released in June 2013, which includes Nina Simone's vocals being mashed. American rapper Waka Flocka Flame freestyled over the song's instrumental in May 2014 as part of his weekly series of freestyles every Monday, leading up to the release of his third studio album Flockaveli 2. A remix of the song was shared by Nicolas Jaar in February 2016. American rapper YvngxChris used a similar chop of this sample for his song of the same name as Ye's song, which blew up on TikTok and would eventually get a remix with SSGKobe, Kashdami, UnoTheActivist, and Ken Carson.
## Credits and personnel
Credits adapted from the Yeezus liner notes.
- Kanye West – songwriter, producer
- Ross Birchard – songwriter, producer
- Elon Rutberg – songwriter
- Malik Jones – songwriter
- Tony Williams – songwriter
- Cydel Young – songwriter
- Mike Dean – songwriter, additional producer
- Lewis Allen – songwriter
- Lunice – producer
- Carlos Broady – co-producer
- 88-Keys – additional producer
- Arca – additional producer
- Noah Goldstein – engineer, mixer at Shangri-La Studios, Malibu, CA
- Anthony Kilhoffer – engineer
- Marc Portheau – assistant engineer
- Khoi Huynh – assistant engineer
- Raoul Le Pennec – assistant engineer
- Nabil Essemlani – assistant engineer
- Damien Prost – assistant engineer
- Keith Parry – assistant engineer
- Kenta Yonesaka – assistant engineer
- David Rowland – assistant engineer
- Sean Oakley – assistant engineer, assistant mixer
- Eric Lynn – assistant engineer, assistant mixer
- Dave "Squirrel" Covell – assistant engineer, assistant mixer
- Josh Smith – assistant engineer, assistant mixer
## Charts
## Certifications | [
"## Background and composition",
"## Release",
"## Critical reception",
"### Accolades",
"## Commercial performance",
"## Live performances",
"## Cover version and remixes",
"## Credits and personnel",
"## Charts",
"## Certifications"
] | 2,553 | 3,919 |
28,822,039 | Hurricane Julia (2010) | 1,171,664,992 | Category 4 Atlantic hurricane in 2010 | [
"2010 Atlantic hurricane season",
"Cape Verde hurricanes",
"Category 4 Atlantic hurricanes",
"Tropical cyclones in 2010"
] | Hurricane Julia was the easternmost Category 4 hurricane recorded in the Atlantic basin since reliable satellite observations became available. The twelfth tropical cyclone, fifth hurricane and fourth major hurricane of the 2010 Atlantic hurricane season, Julia rapidly developed on September 12 from a tropical wave near Cape Verde. Passing near the islands, the system quickly organized into Tropical Storm Julia the next day. On September 14, Julia attained hurricane status and subsequently entered a trend of rapid intensification; the storm strengthened from a minimal hurricane to a low-end Category 4 in only 24 hours. After peaking in intensity, further development was impeded as interaction with nearby Hurricane Igor began to occur; the storm was downgraded to a tropical storm by September 18. It subsequently moved into a region of unfavorable conditions, heading toward lower sea surface temperatures. Correspondingly, Julia entered an extratropical transition on September 20, and advisories on the storm were discontinued by that time.
As Julia never posed any significant threat to land, damage related to the storm was minimal. Trace amounts of rain reportedly fell across the Cape Verde islands, causing locally light flooding and minor inconveniences. Gusts battering the territory peaked at 30 mph (48 km/h), resulting in some wind damage to crops. In addition, these winds produced rough sea conditions, and high waves posed few threats along coastlines.
## Meteorological history
The origins of Julia trace back to a vigorous tropical wave, or an equatorward low-pressure area, which emerged into the Atlantic along the western coast of Africa on September 11. At the time, the system maintained deep convection and strong easterly winds, prompting the National Hurricane Center (NHC) to commence tracking the system as an area of interest. As the wave moved generally westward at 10 to 15 mph (16 to 24 km/h), a quick increase in organization as well as a significant drop in surface pressure became notable. The system continued to organize, and several hours later, the NHC noted only a slight increase would suffice for the development of a tropical cyclone. By September 12, a tropical depression developed, and the NHC initiated advisories at 1500 UTC that day. At the time, the cyclone was situated 250 mi (400 km) southeast of the southernmost islands of Cape Verde.
For several hours, steady strengthening continued as the depression maintained a westward track. Operationally, it was upgraded to Tropical Storm Julia early on September 13, though post-analysis confirmed the storm had reached winds of 40 mph (64 km/h) twelve hours after formation. For several hours, no significant change occurred in its intensity or organization as Julia passed near Cape Verde, though the storm gradually retraced to the west-northwest along the southern periphery of a deep-layer ridge. Slow intensification resumed as the storm bypassed the Cape Verde islands; by early September 14, it displayed a ragged, banded eye-like feature in satellite imagery. Due to locally high sea surface temperatures of about 28 °C (82 °F), a period of rapid intensification subsequently commenced; within hours, Julia attained Category 1 hurricane status. Though located over an area with relatively low oceanic heat content, Julia continued to intensify rapidly under low vertical wind shear and over favorable sea surface temperatures; as such, the hurricane was upgraded to Category 2 status on September 15. In less than two hours, the hurricane deepened to reach Category 3 intensity, becoming the fourth major hurricane of the season. The rapid intensification trend continued, and Julia eventually strengthened into a Category 4 hurricane six hours later. Based on satellite estimates, its winds peaked at 140 mph (230 km/h) and a minimum barometric pressure of 948 mbar (hPa; 27.99 inHg), though operationally estimated at 135 mph (217 km/h) and 950 mbar (950 hPa; 28 inHg), respectively.
Upon peaking in intensity, Julia accelerated slightly as it re-curved toward the northwest along a mid to upper-level low to its southwest. In addition, this system generated unfavorable southerly flow aloft, inducing a slight weakening of the storm. By early September 16, Julia's eye became indistinguishable on satellite images, and the storm further dropped to below major hurricane status. Upon doing so, Julia became embedded within a south-southeasterly steering current along deep-layer ridging in its vicinity, resulting in a more westward track. Though still a hurricane, the relatively small tropical system moved to the east of the much larger Hurricane Igor. Concurrently, Igor's outflow began impinging on Julia's circulation, and due to colder sea surface temperatures, the storm weakened below hurricane intensity late on September 17. Henceforth, Julia re-accelerated as it further curved northward around the contiguous ridge, nearly merging with Igor as a result. Progressively tracking to the north over the next hours, Julia subsequently executed a turn to the northeast, then to the east. Proceeding eastward, the low-level center of the storm became partially exposed on September 18; however, for several hours thereafter, convection gradually redeveloped over its center. Despite the deep convection, vertical wind shear again increased over the system, causing the storm to enter an extratropical transition. It is estimated Julia degenerated into a post-tropical low by 1800 UTC on September 20, while located about 1,095 mi (1,762 km) west of the Azores. The resultant storm meandered around over the Atlantic for several days, continuing generally eastward before executing an elongated loop to the south. Following this erratic track, the remnants of Hurricane Julia proceeded northwestward and came within 350 mi (560 km) of Bermuda, where they were once again briefly monitored by the NHC. However, chance of redevelopment dwindled, as conditions were not conducive for tropical formation; convection nearly diminished entirely, and the NHC discontinued monitoring the system on September 28.
## Preparations and impact
Immediately upon developing into a tropical depression, Julia posed a threat to Cape Verde. At the time, at least 3 to 5 in (76 to 127 mm) of precipitation was expected, with locally accumulations of up to 8 inches (200 mm). In response, the Government of Cape Verde issued a tropical storm warning for the southern portion of the archipelago, which included Maio, Sao Tiago, Fogo, and Brava. The tropical storm warning remained in effect after Julia intensified into a tropical storm; it was finally discontinued early on September 14.
Since Julia stayed at sea and never directly struck land as a significant cyclone, there were no reports of major damage or casualties. Across southern Cape Verde, intermittent rains and some gusty winds were reported when the storm neared the islands. Winds reached between 24 and 30 mph (39 and 48 km/h); the only known report of rainfall accumulations was in Sal, where no more than 0.39 in (9.9 mm) of precipitation was recorded. During the passage of the storm, authorities canceled several local and international flights across Cape Verde. In Sao Tiago, floods triggered several landslides, resulting in the isolation of the community of Covão Grande from roadways. Several communities also reported wind damage to maiz crops. In addition, rough seas with waves of 9.8 to 14.8 ft (3.0 to 4.5 m) resulted in minor disruptions along coastlines.
## See also
- List of Category 4 Atlantic hurricanes
- Hurricane Igor – another Category 4 hurricane that was active the same time Julia was
- Hurricane Fred (2009) – another major hurricane that formed unusually far east
- Hurricane Lorenzo (2019) – the easternmost Category 5 Atlantic hurricane on record | [
"## Meteorological history",
"## Preparations and impact",
"## See also"
] | 1,624 | 27,060 |
30,041,855 | French cruiser Amiral Aube | 1,136,842,939 | French Navy's Gloire-class armored cruisers | [
"1902 ships",
"Gloire-class cruisers"
] | The French cruiser Amiral Aube was one of five Gloire-class armored cruisers built for the French Navy (Marine Nationale) in the early 1900s. Fitted with a mixed armament of 194-millimeter (7.6 in) and 164.7-millimeter (6.5 in) guns, the ships were designed for service with the battle fleet. Completed in 1904, Amiral Aube joined her sister ships in the Northern Squadron (Escadre du Nord). Unlike her sisters, the cruiser remained in the Northern Squadron until she was placed in reserve in mid-1911. The ship was reactivated at the beginning of 1914 and was assigned to the 2nd Light Squadron (2<sup>e</sup> Escadre légère), as the units based in northwestern France had been renamed, together with two of her sisters.
When World War I began in August 1914, she was assigned to patrol the English Channel to enforce the blockade of Germany. Amiral Aube was transferred to the Eastern Mediterranean in late 1915 where she patrolled off the coast of Ottoman-controlled territory. To help protect Allied shipping from German commerce raiders, the ship was transferred to the French West Indies in mid-1916. In early 1918, Amiral Aube was briefly assigned to escort convoys from the West Indies to Europe. The ship was sent to Murmansk in March to support Allied forces when they intervened in the Russian Civil War. Returning home in October, she joined her sisters in the Atlantic Division (Division de l'Atlantique) in early 1919. Amiral Aube was placed in reserve in 1920 and sold for scrap four years later.
## Design and description
The Gloire-class ships were designed as enlarged and improved versions of the preceding Gueydon class by Emile Bertin. The ships measured 139.78 meters (458 ft 7 in) overall, with a beam of 20.2 meters (66 ft 3 in) and a draft of 7.55 meters (24 ft 9 in). They displaced 9,996 metric tons (9,838 long tons). Their crew numbered 25 officers and 590 enlisted men.
The sisters' 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. Amiral Aube had four-cylinder engines fed by 28 Belleville boilers that were designed to produce a total of 20,500 metric horsepower (15,100 kW) intended to give them a maximum speed of 21 knots (39 km/h; 24 mph). During her sea trials on 12 December 1903, the ship reached 21.88 knots (40.52 km/h; 25.18 mph) from 22,180 metric horsepower (16,310 kW). The cruisers carried enough coal to give them a range of 6,500 nautical miles (12,000 km; 7,500 mi) at a speed of 10 knots (19 km/h; 12 mph).
### Armament and armor
The main battery of the Gloire class consisted of two quick-firing (QF) 194 mm Modèle 1893–1896 guns mounted in single-gun turrets fore and aft of the superstructure. Their secondary armament comprised eight QF 164.7 mm Modèle 1893–1896 guns and six QF Canon de 100 mm (3.9 in) Modèle de 1893 guns. Half of the 164.7 mm guns were in two single-gun wing turrets on each broadside and all of the remaining guns were on single mounts in casemates in the hull. For defense against torpedo boats, they carried eighteen 47-millimeter (1.9 in) and four 37-millimeter (1.5 in) Hotchkiss guns, all of which were in single mounts. The sisters were also armed with five 450-millimeter (17.7 in) torpedo tubes, of which two were submerged and three above water. Two of these were on each broadside and the fifth tube was in the stern. All of the above-water tubes were on pivot mounts. The ships varied in the number of naval mines that they could carry and Amiral Aube was fitted with storage for 10.
The Gloire class were the first French armored cruisers to have their waterline armored belt made from Harvey face-hardened armor plates. The belt ranged in thickness from 70 to 150 millimeters (2.8 to 5.9 in). Because of manufacturing limitations, the thinner end plates were nickel steel. Behind the belt was a cofferdam, backed by a longitudinal watertight bulkhead. The upper armored deck met the top of the belt and had a total thickness of 34 millimeters (1.3 in) while the lower armored deck curved down to meet the bottom of the belt and had a uniform thickness of 45 millimeters (1.8 in).
The main-gun turrets were protected by 161 millimeters (6.3 in) of Harvey armor, but their barbettes used 174-millimeter (6.9 in) plates of ordinary steel. The face and sides of the secondary turrets were 92 millimeters (3.6 in) thick and the plates protecting their barbettes were 102 millimeters (4 in) thick. The casemates protecting the 100-millimeter guns also had a thickness of 102 millimeters. The face and sides of the conning tower were 174 millimeters thick.
## Construction and career
Amiral Aube, named after Amiral Théophile Aube, was authorized in the 1898 Naval Program and was ordered from Chantiers de Penhoët on 9 August 1899. The ship was laid down in February 1901 at their Saint-Nazaire shipyard, launched on 9 May 1902, and completed on 1 April 1904. The cost of her construction was 24,336,000 francs. On commissioning, most of her crew came from the protected cruiser Guichen, which was paid off into the reserve. The ship was initially assigned to the 1st Cruiser Division (1<sup>re</sup> Division de croiseurs) of the Northern Squadron. Together with her sisters Condé and Gloire, Amiral Aube escorted the remains of John Paul Jones from France to Annapolis, Maryland, in April 1906 and then went on to visit New York City. and was assigned to the 2nd Cruiser Division by January 1907. Amiral Aube rejoined the 1st Cruiser Division by October and participated in the Quebec Tercentenary in Canada the following July.
When the République-class battleships began entering service in late 1909, the French Navy reorganized and redesignated units so that the division became the Cruiser Division of the 2nd Squadron (2<sup>e</sup> Escadre). By January 1911, she had been joined by Gloire and Condé. In March the sisters visited New York City. The division was deployed to the Mediterranean for training in mid-1911 and the ship participated in the fleet review by the President of France, Armand Fallières, off Toulon on 4 September. Amiral Aube was assigned to the Reserve Group (Groupe de réserve) in November 1911 and was reactivated in January 1914 as part of the 1st Cruiser Division of the 2nd Light Squadron that replaced the 2nd Squadron.
When World War I began on 3 August, the 1st Cruiser Division was redesignated as the 1st Light Division (1<sup>er</sup> Division légère (DL)) and transferred to Cherbourg. From there they provided distant cover for the ships enforcing the blockade at the western entrance to the Channel. The 1st DL covered the transports ferrying the British 6th Infantry Division from Southampton to Saint-Nazaire on 9–10 September. On 27 October the French patrols in the Channel were reorganized with Amiral Aube and Gloire tasked to reinforce the smaller cruisers now conducting the patrols.
After the eastern entrance to the Channel was sealed off with anti-submarine nets and minefields in 1915, the armored cruisers were no longer required and Amiral Aube was sent to the Eastern Mediterranean late that year. She arrived on 24 December and was assigned to the 2nd Division of the 3rd Squadron which patrolled off the Egyptian and Levantine coasts. The constant patrolling caused a lot of wear and tear on the ship's propulsion machinery and she required frequent repairs until she was sent to Brest for a refit in March 1916. Two months later, after another reorganization, Amiral Aube and all of her sisters were assigned to the 3rd DL which was tasked with patrolling the West Indies in search of German commerce raiders. Together with Gloire, Amiral Aube departed Brest on 20 May, bound for Fort-de-France in the colony of Martinique. The 3rd DL was disbanded and the remaining cruisers in the West Indies were assigned to the Atlantic and Antilles Division (Division de l'Atlantique et des Antilles) on 1 June 1917. The division was tasked with escorting convoys bound for Europe from Saint Thomas, U.S. Virgin Islands beginning on 15 February 1918.
After the Bolsheviks signed the Treaty of Brest-Litovsk on 3 March 1918, Amiral Aube was sent to North Russia to support the Allied intervention there. The cruiser arrived at Murmansk on 18 March; she supported the Allied occupation of Arkhangelsk on 10 August. The ship returned home in October after being relieved by the armored cruiser Gueydon on the 18th. In early 1919 Amiral Aube was assigned to the Atlantic Division with her sisters. She was placed in reserve in March 1920 in Lorient; the ship was stricken from the naval register on 7 July 1922 and sold for scrap two years later. | [
"## Design and description",
"### Armament and armor",
"## Construction and career"
] | 2,148 | 31,336 |
71,286,046 | Yoga in advertising | 1,132,925,754 | None | [
"Advertising",
"Yoga as exercise"
] | Yoga in advertising is the use of images of modern yoga as exercise to market products of any kind, whether related to yoga or not. Goods sold in this way have included canned beer, fast food and computers.
Yoga is an ancient meditational spiritual practice from India, with the goal of the isolation of the self. This goal was replaced with modern goals like good health. Yoga itself was transformed into a form of exercise in India early in the 20th century, and adopted across the Western world for mass consumption. From the 1980s, the yoga market grew and diversified; established yoga brands such as Iyengar Yoga were joined by newer brands like Anusara Yoga. Yoga has become a physical activity mainly for women, and is marketed mainly to them.
The purpose of using yoga in advertising ranges from giving a favourable impression of a product or service, to selling specific yoga-related items like classes, clothing and props. Some such uses, such as of religious symbols like the sacred syllable Om, have been described as cultural appropriation. Yoga advertisements employ themes such as the sexual objectification of women, self-transformation through physical means, and the promise of reduced stress. Images of women in difficult yoga poses feature in advertisements to convey desirable qualities.
## Context
Yoga is an ancient meditational spiritual practice from India. Its goal, detachment from the self or kaivalya, was replaced by the self-affirming goals of good health, reduced stress, and physical flexibility. In the early 20th century, it was transformed through Western influences and a process of innovation in India to become an exercise practice. Around the 1960s, modern yoga was transformed further by three global changes: Westerners were able to travel to India, and Indians were able to migrate to the West; people in the West became disillusioned with organised religion, and started to look for alternatives; and yoga became an uncontroversial form of exercise suitable for mass consumption.
## Yoga marketing
The growth of yoga as exercise from the 1980s to the 2000s encouraged the market to diversify, first-generation yoga brands such as Iyengar Yoga being joined by second-generation brands such as Anusara Yoga. The scholar of yoga Andrea Jain writes that these were "mass-marketed to the general populace"; successful brands were able to gain audiences of hundreds of thousands from cities around the world. This in turn led to regulation. Professional organisations such as the Yoga Alliance and the European Union of Yoga maintain registries of yoga schools that provide appropriate yoga teacher training, and of yoga teachers who have been trained on approved courses. Certifying organisations such as Yoga Alliance have set out guidelines for how their members and others may use their logos in advertisements.
In the Western world, yoga has become "feminized ... both in theory and in practice". Its practitioners are largely women; for example, in the United States in 2004, 77 per cent of yoga practitioners were women, while in Australia in 2002, the figure was 86 per cent; in Britain in the 1970s, yoga classes were between 70 and 90 percent female. Commercialization has gone hand-in-hand with this trend, to the point where yoga aimed at the female market has become a business worth hundreds of millions of pounds a year. Accordingly, advertisers have attempted to appeal to women in search of well-being to market a wide variety of goods and services, some clearly related to a healthy life, from probiotic yoghurt and low-fat cereals to fitness clubs and water filters, and some not, with products as diverse as air travel, beer, motor vehicles, and financial services. Some uses of yoga in marketing, such as for Lululemon yoga clothing and mala beads (with the corporate logo) are seen to be commercial but are at least directly connected to yoga practice.
Other uses, for products unrelated to yoga, have been described as ranging from "offensive" to "just plain bizarre", with the Hindu god Shiva depicted on beer cans, the sacred syllable Om in marketing materials, and a foldable computer named "Yoga". The yoga teacher and studio owner Arundhati Baitmangalkar, writing in Yoga International, describes some of this marketing as cultural appropriation. She identifies yoga studios, yoga teachers and yoga-related businesses as among those misusing yoga, stating that sacred symbols like idols of Buddha, Ganesha, Patanjali, and Shiva need to be treated with "reverence", just as the Om symbol, yoga sutras, and mandalas are not "décor" and that they should not be added "casually" to beautify a yoga space. On the other hand, the first-generation Indian American yoga researcher and teacher, Rina Deshpande, writes that people from India can feel excluded if Indian words and symbols are forbidden in an attempt to make yoga classes more inclusive. Deshpande notes that it is ironic that yoga is now "often marketed by affluent Westerners to affluent Westerners—and Indians, ironically, are marginally represented, if at all."
The Welsh author Holly Williams, writing about the commercialisation of yoga in The Independent, commented that she had "unfollowed people on Instagram whose artful shots of their Lycra-clad one-legged wheel poses come with a barrage of hashtags (#fitspo \#yogaeverydamnday \#beagoddess)."
## Themes
The feminist scholar Diana York Blaine identifies three themes in the use of yoga in advertising: that the "chaotic female body and its desires" need to be controlled; that consumers can use yoga to "maintain the excesses of patriarchal capitalist consumer culture"; and that the values of Western consumerism and materialism take precedence over the values of Eastern spirituality. In Blaine's view, yoga's appearance in advertising places women in the male gaze: yoga is sold as a way of making the female body perfect enough to gain male approval. Women do often report that they are happier with their bodies with regular yoga, even though, Blaine remarks, yoga's representation in advertising encourages women to be unhappy with their appearance. She gives as example an advertisement by Carl's Jr., a fast food business, in which a woman doing Upward Dog pose confides to her friend that her husband wants her to "get great buns". Blaine explains that this is a pun on the firm's hamburger buns and a slang word for buttocks; this is emphasized by a close-up shot of the women's buttocks, now in Downward Dog, which Blaine describes as objectifying the female body.
The lingerie of Victoria's Secret, too, has been marketed using yoga. In a 2013 campaign, the model Lindsay Ellingson is shown at an Equinox Health Club gym – advertising that product at the same time – doing Tree Pose and other asanas, with a voiceover telling women "If you want a toned tummy and legs like a Victoria's Secret model, try the Downward Dog". Blaine comments that the marketing is offering "self-transformation through physical, not spiritual, change".
A different approach was taken by Hyatt Hotels, using yoga to sell the brand to businesswomen. In an advertisement, a businesswoman with a stressful family life is seen floating in space on her yoga mat, seated in lotus pose, with the caption "And now the only thing I've left behind is stress". Commenting on the sexism implicit in the scene, Blaine states that "Corporate America increasingly co-opts yoga to keep its army of workers working". | [
"## Context",
"## Yoga marketing",
"## Themes"
] | 1,553 | 30,492 |
9,388,131 | Type Ib and Ic supernovae | 1,172,635,648 | Types of supernovae caused by a star collapsing | [
"Supernovae"
] | Type Ib and Type Ic supernovae are categories of supernovae that are caused by the stellar core collapse of massive stars. These stars have shed or been stripped of their outer envelope of hydrogen, and, when compared to the spectrum of Type Ia supernovae, they lack the absorption line of silicon. Compared to Type Ib, Type Ic supernovae are hypothesized to have lost more of their initial envelope, including most of their helium. The two types are usually referred to as stripped core-collapse supernovae.
## Spectra
When a supernova is observed, it can be categorized in the Minkowski–Zwicky supernova classification scheme based upon the absorption lines that appear in its spectrum. A supernova is first categorized as either a Type I or Type II, then subcategorized based on more specific traits. Supernovae belonging to the general category Type I lack hydrogen lines in their spectra; in contrast to Type II supernovae which do display lines of hydrogen. The Type I category is subdivided into Type Ia, Type Ib and Type Ic.
Type Ib/Ic supernovae are distinguished from Type Ia by the lack of an absorption line of singly ionized silicon at a wavelength of 635.5 nanometres. As Type Ib and Ic supernovae age, they also display lines from elements such as oxygen, calcium and magnesium. In contrast, Type Ia spectra become dominated by lines of iron. Type Ic supernovae are distinguished from Type Ib in that the former also lack lines of helium at 587.6 nm.
## Formation
Prior to becoming a supernova, an evolved massive star is organized like an onion, with layers of different elements undergoing fusion. The outermost layer consists of hydrogen, followed by helium, carbon, oxygen, and so forth. Thus when the outer envelope of hydrogen is shed, this exposes the next layer that consists primarily of helium (mixed with other elements). This can occur when a very hot, massive star reaches a point in its evolution when significant mass loss is occurring from its stellar wind. Highly massive stars (with 25 or more times the mass of the Sun) can lose up to 10<sup>−5</sup> solar masses () each year—the equivalent of every 100,000 years.
Type Ib and Ic supernovae are hypothesized to have been produced by core collapse of massive stars that have lost their outer layer of hydrogen and helium, either via winds or mass transfer to a companion. The progenitors of Types Ib and Ic have lost most of their outer envelopes due to strong stellar winds or else from interaction with a close companion of about . Rapid mass loss can occur in the case of a Wolf–Rayet star, and these massive objects show a spectrum that is lacking in hydrogen. Type Ib progenitors have ejected most of the hydrogen in their outer atmospheres, while Type Ic progenitors have lost both the hydrogen and helium shells; in other words, Type Ic have lost more of their envelope (i.e., much of the helium layer) than the progenitors of Type Ib. In other respects, however, the underlying mechanism behind Type Ib and Ic supernovae is similar to that of a Type II supernova, thus placing Types Ib and Ic between Type Ia and Type II. Because of their similarity, Type Ib and Ic supernovae are sometimes collectively called Type Ibc supernovae.
There is some evidence that a small fraction of the Type Ic supernovae may be the progenitors of gamma ray bursts (GRBs); in particular, type Ic supernovae that have broad spectral lines corresponding to high-velocity outflows are thought to be strongly associated with GRBs. However, it is also hypothesized that any hydrogen-stripped Type Ib or Ic supernova could be a GRB, dependent upon the geometry of the explosion. In any case, astronomers believe that most Type Ib, and probably Type Ic as well, result from core collapse in stripped, massive stars, rather than from the thermonuclear runaway of white dwarfs.
As they are formed from rare, very massive stars, the rate of Type Ib and Ic supernova occurrence is much lower than the corresponding rate for Type II supernovae. They normally occur in regions of new star formation, and are extremely rare in elliptical galaxies. Because they share a similar operating mechanism, Type Ibc and the various Type II supernovae are collectively called core-collapse supernovae. In particular, Type Ibc may be referred to as stripped core-collapse supernovae.
## Light curves
The light curves (a plot of luminosity versus time) of Type Ib supernovae vary in form, but in some cases can be nearly identical to those of Type Ia supernovae. However, Type Ib light curves may peak at lower luminosity and may be redder. In the infrared portion of the spectrum, the light curve of a Type Ib supernova is similar to a Type II-L light curve. Type Ib supernovae usually have slower decline rates for the spectral curves than Ic.
Type Ia supernovae light curves are useful for measuring distances on a cosmological scale. That is, they serve as standard candles. However, due to the similarity of the spectra of Type Ib and Ic supernovae, the latter can form a source of contamination of supernova surveys and must be carefully removed from the observed samples before making distance estimates.
## See also
- Type Ia supernova
- Type II supernova | [
"## Spectra",
"## Formation",
"## Light curves",
"## See also"
] | 1,138 | 2,758 |
73,550,000 | White Antelope (Cheyenne chief) | 1,162,172,528 | North American Indian leader (c. 1789 – 1864) | [
"1780s births",
"1864 deaths",
"Cheyenne people",
"Murdered Native American people",
"Native American leaders",
"Year of birth unknown"
] | White Antelope (Cheyenne: Wōkaī hwō'kō mǎs; c. 1789 – November 29, 1864) was a chief of the Southern Cheyenne. He was known for his advocacy of peace between white Americans living in the Great Plains until his killing at the Sand Creek massacre. Accounts of the massacre conflict as to whether White Antelope led his people in resistance to the attack or continued to advocate for peace until his death. White Antelope's body was desecrated after the massacre, and the blanket he was wearing stolen.
In his early years he became known as a great warrior, and was later involved in several treaties regarding the land of the Cheyenne. During the 1860s, despite worsening relations between the Cheyenne and white people living in Colorado, White Antelope remained optimistic that peace could be achieved. Led by John Chivington to believe that his people would be safe there, White Antelope and other Cheyenne chiefs led their people in peace to Fort Lyon. They settled with Arapaho on Sand Creek. On November 29, 1864, Chivington brought a force of hundreds of soldiers and began firing on the town unprovoked. After his killing, the song that White Antelope supposedly sang as he died became well-known, and has been used at events commemorating the massacre: "nothing lives long ... only the earth and mountains ..."
## Biography
### Early years
White Antelope was born c. 1789 into the Southern Cheyenne tribe in the Great Plains. What is known of his early years is recorded in oral histories, which describe him as having been a "great warrior." These histories record him having been part of at least two conflicts: an 1826 raid led by Yellow Wolf of a horse herd along the North Fork Red River held by the Kiowa, and the 1838 Battle of Wolf Creek between the Cheyenne and the Kiowa. During that battle, he fought in the Crooked Lance Society, and was reported to have been one of "the bravest" there. He made the final decision to end the battle with fellow Cheyenne warrior Little Old Man. George Bird Grinnell, in his 1956 The Fighting Cheyennes, described White Antelope as having been one of the main figures involved in peace negotiations that took place in 1840 between the Kiowa, Cheyenne, and Comanche tribes.
After Wolf Creek and the peace negotiations, White Antelope seems to have become an important chief among the Cheyenne. He appears at least three times in accounts written by white Americans traveling through their territory. The first, in 1842, was written by Bill Hamilton, who reported that he stopped at a town led by White Antelope on the banks of Cherry Creek. William Boggs described a raid two years later undertaken by White Antelope on a Pawnee village. Boggs wrote that the raid saw White Antelope leave on his own during the winter, only returning after about six weeks and with eleven human scalps. By this point, his tribe had thought him dead. Finally, in 1848 Hamilton met with 75 Cheyennes led by White Antelope. At their second meeting, Hamilton later described his impression of White Antelope as "a noted chief and a proud and fine looking warrior."
At some point he had a son, also known as White Antelope.
### Involvement in treaties
While White Antelope did not sign the 1851 Treaty of Fort Laramie, he was selected to visit Washington, D.C., in the aftermath of the treaty's signing, traveling with Alights-on-the-Cloud and Little Chief. White Antelope signed a revised version of the treaty two years later. He was with his people during a July 1857 punitive expedition by the American army under Edwin Vose Sumner. He protested the attack as unjustified in an October trip to Bent's Fort. Two years later, White Antelope and other Cheyenne chiefs received gifts brought by William A. Phillips, which they distributed among their people.After returning from Washington, White Antelope became known not as a warrior, but as an advocate of peace between white Americans and the native tribes living on the Great Plains. By the late 1850s, many white Americans were no longer willing to follow past treaties that had been signed with the Cheyenne about their land, as gold had been found there, and they resolved to renegotiate the terms. White Antelope was reportedly involved in the ensuing negotiations, and his name is signed to the 1861 Treaty of Fort Wise that emerged, relegating the Cheyenne to a small reservation. White Antelope later condemned the treaty as a "swindle", saying that his name had been added to the Treaty without his consent. In the 1860s he again visited Washington, meeting with Abraham Lincoln.
### Sand Creek massacre
Relations between the Cheyenne and white Americans living on the Great Plains declined during the 1860s, as many Cheyenne refused to move to the reservation and instead attempted to remain on their traditional buffalo hunting lands. With the outbreak of the American Civil War in 1861, more soldiers were stationed in Colorado. In 1864, John Chivington led the First Regiment of Colorado Volunteers. That summer, they began killing, according to historian Stan Hoig, any and all Cheyenne they came upon, ostensibly as a form of retaliation for reported theft of livestock. Several Cheyenne settlements were completely destroyed.
At the end of the summer of violence, in August 1864, Cheyenne and Arapaho including White Antelope and Black Kettle attempted to negotiate for peace, writing to Fort Lyon. White Antelope and Black Kettle were involved in further negotiations in the weeks that followed: they were in groups that met with Major Edward W. Wynkoop and, in late September, Governor of Colorado John Evans. Though many in his tribe warned him against trusting what he was told, White Antelope remained optimistic about the possibility for peace. He was the oldest of the chiefs who attended the meeting with Evans, later known as the "Camp Weld Council". There, White Antelope denied that his people had stolen livestock, and emphasized his desire to insure the safety of his people. At the September meeting, Chivington made a statement that was interpreted by the Cheyenne and Arapaho as promising that his men would protect those who went in peace to Fort Lyon. Hoig writes that Chivington's meaning (a promise of safety) was "crystal clear". White Antelope also believed this promise, encouraging Cheyenne to travel with him to Fort Lyon.
In response, White Antelope and Black Kettle resolved that they would move their people near the fort. Major Scott Anthony, then in command of the fort, told the Cheyenne and Arapaho that they should settle nearby, on Sand Creek. They did so. Holg describes the settlement at this point as holding "most of the peace chiefs of the Southern Cheyennes". On November 29, ignoring efforts at peace, Chivington brought a force of hundreds of soldiers to the town. Hoig writes that upon seeing soldiers, White Antelope and Black Kettle told their people that they would be safe and raised a flag, which was either an American flag or a white flag. Unprovoked by the Cheyenne, Chivington's forces began to fire on the settlement, commencing the Sand Creek massacre.
### Death
There are conflicting accounts of what happened next. Several accounts of the massacre describe White Antelope as leading resistance to the soldiers. Lieutenant Andrew J. Templeton, Private David H. Louderback, and Private Safely, all in the forces under Chivington, later described White Antelope as running forward with a gun in hand and opening fire on the troops. Louderback wrote that he was killed in Sand Creek, while Safely wrote that he advanced as close as 50 yards (46 m) before Safely shot White Antelope and another gunshot to the head killed him. Templeton attributed White Antelope's killing to another private. John Smith, also with Chivington, wrote that White Antelope was the first to be killed in the massacre.
Other accounts, including that of George Bent, offer different accounts of White Antelope's death, establishing him as having been an advocate of peace. Bent writes that White Antelope remained in his lodge, where sang his death song and was killed. This account originated with Black Kettle.
In another account, written by James Beckwourth, who was present with Chivington, White Antelope ran forward, shouting at the soldiers to stop. Beckwourth recorded White Antelope as speaking in "as plain English as I can". He soon realized these efforts were in vain and stopped moving forward. Cheyenne survivors later reported that he began to sing a death song:
> nothing lives long ... only the earth and mountains ...
As he did so, Beckwourth wrote that he "folded his arms until shot down." Historian Gregory Michno concludes that while it is not clear which of these accounts are correct, all accounts agree that White Antelope was killed by soldiers during the massacre.
## Legacy
His body was found in the riverbed of Sand Creek, and desecrated by soldiers who cut off his nose, ears, and scrotum; his scrotum was reportedly made into a tobacco pouch. A blanket that he was wearing when killed was stolen by an American soldier. In the later half of the 20th century, descendants of White Antelope attempted to receive reparations for his killing, as promised in the Little Arkansas Treaty following the massacre.
Historian Ari Kelman writes that the death of many chiefs in the massacre, including White Antelope, was a loss at a "critical moment" for the tribe, and the impact "reverberated across generations."
White Antelope's blanket became known as the "Chief White Antelope blanket". It was placed on display at the Laboratory of Anthropology in 1937. The blanket was later dated to around 1864. As of 2021, the blanket is still held by the Laboratory of Anthropology, now known as the School for Advanced Research. The museum views its role as functioning as a steward "of the blanket for the Cheyenne and Arapaho community and Chief White Antelope and Sand Creek descendants," and brings it to gatherings of the Cheyenne every two years.
County Road 54, near the site of the massacre, is named "Chief White Antelope Way".
White Antelope's death song has become associated with the Sand Creek massacre. Versions have been sung in a number of remembrances of the massacre, including a performance by Northern Cheyenne singers on November 29, 2002, at the state capitol in Denver, at a 2008 internment of remains from the massacre repatriated to the Cheyenne, and in 2020 at the Sand Creek massacre commemoration. | [
"## Biography",
"### Early years",
"### Involvement in treaties",
"### Sand Creek massacre",
"### Death",
"## Legacy"
] | 2,279 | 23,512 |
1,210,466 | HMS Greyhound (H05) | 1,134,945,777 | British G-class destroyer | [
"1935 ships",
"G and H-class destroyers of the Royal Navy",
"Maritime incidents in May 1941",
"Ships built in Barrow-in-Furness",
"Ships sunk by German aircraft",
"Ships sunk by aircraft during the Battle of Crete",
"Shipwrecks of Greece",
"World War II destroyers of the United Kingdom",
"World War II shipwrecks in the Mediterranean Sea"
] | HMS Greyhound was a G-class destroyer built for the Royal Navy in the 1930s. Greyhound participated in the Norwegian Campaign in April 1940, the Dunkirk evacuation in May and the Battle of Dakar in September before being transferred to the Mediterranean Fleet in November. The ship generally escorted the larger ships of the Mediterranean Fleet as they protected convoys against attacks from the Italian Fleet. She sank two Italian submarines while escorting convoys herself in early 1941. Greyhound was sunk by German Junkers Ju 87 Stuka dive bombers north-west of Crete on 22 May 1941 as she escorted the battleships of the Mediterranean Fleet attempting to intercept the German sea-borne invasion forces destined for Crete.
## Description
Greyhound displaced 1,350 long tons (1,370 t) at standard load and 1,883 long tons (1,913 t) at deep load. The ship had an overall length of 323 feet (98.5 m), a beam of 33 feet (10.1 m) and a draught of 12 feet 5 inches (3.8 m). She was powered by Parsons geared steam turbines, driving two shafts, which developed a total of 34,000 shaft horsepower (25,000 kW) and gave a maximum speed of 36 knots (67 km/h; 41 mph). Steam for the turbines was provided by three Admiralty 3-drum water-tube boilers. Greyhound carried a maximum of 470 long tons (480 t) of fuel oil that gave her a range of 5,530 nautical miles (10,240 km; 6,360 mi) at 15 knots (28 km/h; 17 mph). The ship's complement was 137 officers and men in peacetime, but increased to 146 in wartime.
The ship mounted four 4.7-inch (120 mm) Mark IX guns in single mounts. For anti-aircraft defence Greyhound had two quadruple Mark I mounts for the 0.5 inch Vickers Mark III machine gun. She was fitted with two above-water quadruple torpedo tube mounts for 21-inch (533 mm) torpedoes. One depth charge rail and two throwers were fitted; 20 depth charges were originally carried, but this increased to 35 shortly after the war began.
## Service
Greyhound was laid down by Vickers Armstrong Naval Construction Works at Barrow-in-Furness on 20 September 1934, launched on 15 August 1935 and completed on 31 January 1936. Excluding government-furnished equipment like the armament, the ship cost £248,768. Aside from a brief period when she was assigned to the 20th Destroyer Flotilla after her commissioning, Greyhound spent the prewar period assigned to the 1st Destroyer Flotilla with the Mediterranean Fleet. On 17 November 1937, Greyhound and sister ships Grenade and Glowworm were ordered from their anchorage at Mudros to search for the British steamship African Mariner, which was suspected of smuggling war material to Spain. After African Mariner was located by an aircraft launched from the battlecruiser Repulse, Greyhound intercepted the merchant ship and put a boarding party onboard African Mariner, and took the steamship into Malta. After a ten day search, African Mariner was allowed to continue her journey from Odessa and Novorossisk to Barcelona. She was refitted at Portsmouth Dockyard between 7 June and 23 July 1938 and escorted the ocean liner SS Strathnaver between Malta and Alexandria during the Munich Crisis in September 1938. She then escorted the light cruiser Arethusa on her voyage to Aden. On 25 January 1939, Greyhound evacuated employees of the British Embassy and their families from Republican-held Barcelona, as the city was threatened with imminent capture by Nationalist forces during the closing stages of the Spanish Civil War. The destroyer was narrowly missed by bombs during the evacuation. The city would fall the next day.
Greyhound and her entire flotilla were transferred to the Western Approaches Command at Plymouth in October. On 12 November 1939 she collided with her sister ship, Gipsy en route to Harwich, and her new assignment with the 22nd Destroyer Flotilla, but she was only slightly damaged, and her repairs were completed two days later. The ship rescued survivors on 18 November from the ocean liner SS Simon Bolivar, which had struck a mine, and from SS Torchbearer the following day. Greyhound began escorting coastal convoys on 5 December when she was transferred back to the 1st Destroyer Flotilla. On 14 January she captured the German blockade runner Phaedra in the North Sea. The ship was refitted between 16 February and 18 March 1940 and later reassigned to the Home Fleet.
On 5 April Greyhound escorted the battlecruiser Renown as she covered the minelayers preparing to implement Operation Wilfred, an operation to lay mines in the Vestfjord to prevent the transport of Swedish iron ore from Narvik to Germany. The ship was present during, but played no part in, Renown's brief engagement with the German battleships Scharnhorst and Gneisenau on 9 April. Greyhound remained in the Vestfjord when the five ships of the 2nd Destroyer Flotilla sailed into the Ofotfjord on 10 April to engage the German ships that had transported the invasion force to Narvik. She covered the withdrawal of the three surviving destroyers later that day. The ship was damaged by German bombers at Scapa Flow on 18 April and was repaired at Gravesend, Kent, between 22 April and 19 May.
During the Siege of Calais, Greyhound and her sister Grafton provided naval gunfire support for the 30th Motor Brigade on 25 and 26 May. On 28 and 29 May she evacuated 1,360 men from Dunkirk before she was damaged by German bombers. The ship was towed out of the harbour by the Polish destroyer ORP Błyskawica. After her repairs were completed at Chatham Dockyard on 17 June, Greyhound rejoined her flotilla at Dover. On 30 July the ship, and her sister Gallant, escorted the aircraft carrier Argus to Gibraltar and Greyhound was assigned to the 13th Destroyer Flotilla based there. The ship participated in Operations Hats at the end of August when the British reinforced the Mediterranean Fleet.
During the Battle of Dakar on 23 September, Greyhound, the destroyer Fury, and the Australian heavy cruiser engaged the Vichy French destroyer L'Audacieux which was set on fire and forced to beach itself. The ship escorted the battleship Barham and the cruisers Berwick and Glasgow during Operation Coat in early November as they joined the Mediterranean Fleet. Greyhound herself was transferred to the 14th Destroyer Flotilla in Alexandria. She participated in the inconclusive Battle of Cape Spartivento on 27 November during Operation Collar.
Greyhound participated in Operation Excess in January 1941 and then sank the Italian submarine Neghelli on 19 January while escorting a convoy to Piraeus. In late January, the ship, and the destroyers Juno, Jervis, and Janus, escorted the badly damaged aircraft carrier Illustrious from Malta to Alexandria. Greyhound sank the Italian submarine Anfitrite on 6 March as she attempted to attack Convoy GA.8 which was carrying British troops to Greece. The ship escorted the capital ships of the Mediterranean Fleet during the Battle of Cape Matapan on 28/29 March and initiated the night action when her searchlight illuminated an Italian cruiser. Greyhound and her sister, Griffin, attacked some of the Italian destroyers, but lost them when they passed through their own smokescreen. She sank the Italian sailing ship Romagna on 17 April off Apollonia, Cyrenaica as she was conducting an anti-shipping sweep off the North African coast with the Australian destroyer . The ship escorted the heavy units of the Mediterranean Fleet on 6 May as they provided cover for Operation Tiger, a convoy carrying reinforcements to Egypt. During the invasion of Crete, Greyhound escorted the battleship Warspite west of Crete on 22 May as she covered the cruiser forces attempting to sink the German invasion convoys. The ships were en route to rendezvous with the cruisers in the Kythira Strait when she was struck by three bombs dropped by Stukas of StG 2 and sank a few minutes afterwards. Her survivors were rescued by the destroyers Kingston and Kandahar, but six officers and 74 sailors were killed in the attack. The Germans later rescued four more sailors. | [
"## Description",
"## Service"
] | 1,832 | 10,477 |
21,278,454 | 1948 Tinker Air Force Base tornadoes | 1,172,066,371 | 1948 windstorm in Oklahoma City, Oklahoma, USA | [
"1948 in Oklahoma",
"1948 meteorology",
"1948 natural disasters",
"20th-century tornadoes",
"March 1948 events in the United States",
"Tornadoes in Oklahoma"
] | The 1948 Tinker Air Force Base tornadoes were two tornadoes which struck Tinker Air Force Base in Oklahoma City, Oklahoma, on March 20 and 25, 1948. Both are estimated to have been equivalent to F3 in intensity on the modern Fujita scale of tornado intensity, which was not devised until 1971. The March 20 tornado was the costliest tornado in Oklahoma history at the time. On March 25, meteorologists at the base noticed the extreme similarity between the weather conditions of that day and March 20, and later in the day issued a "tornado forecast", which was verified when a tornado struck the base that evening. This was the first official tornado forecast, as well as the first successful tornado forecast, in recorded history.
## March 20 tornado
Weather forecasting was still crude and prone to large errors in the era before weather satellites and computer modeling. Thunderstorms were not even in the forecast for the evening of March 20. However, around 9:30 pm storms were reported about 20 miles (32 km) to the southwest, and at 9:52 a tornado was sighted near Will Rogers Airport 7 miles (11 km) away, along with a 92-mile-per-hour (148 km/h) wind gust, moving northeast towards the base.
At 10:00, the tornado reached the southwest corner of the base. Illuminated by nearly constant lightning, the tornado was highly visible as it bisected the base, tossing around planes which were parked in the open. The control tower reported a 78-mile-per-hour (126 km/h) wind gust before the windows shattered, injuring several personnel with flying glass. The tornado dissipated at the northeast corner of the base.
The tornado missed most structures on the base, but the damage to expensive military aircraft was substantial. The total damage cost came to around \$10 million, or \$ million in United States dollars. This was the most damaging tornado in Oklahoma up to that date.
## Investigation and tornado forecast
In the aftermath of the first tornado, an official inquiry was conducted into the failure to predict the destructive tornado. Air Force investigators came to the conclusion that "due to the nature of the storm it was not forecastable given the present state of the art." They also made recommendations that the meteorological community determine a tornado warning system for the public, as well as a protocol for protecting life and property at military bases.
Both of these investigations began almost immediately. In the days following the tornado, Tinker's meteorologists Major Ernest J. Fawbush and Captain Robert C. Miller investigated surface and upper-air weather data from this and past tornado outbreaks, hoping to be able to identify conditions which were favorable for tornadoes. By March 24, they had compiled several possible tornado indicators, and decided it would be difficult, but possible, to identify large tornado threat areas in the future.
On the morning of March 25, base meteorologists noticed that weather charts for the day were strikingly similar to those before the March 20 tornado. Forecasts issued by the Weather Bureau indicated that almost the same conditions would be present in the evening of March 25 as were present on March 20. In the morning, they issued a forecast for "heavy thunderstorms" effective for 5–6 pm that evening. This would allow the base's commander to alert base personnel that they may institute their brand-new tornado precautions.
As the day wore on, conditions appeared more and more favorable for thunderstorms, and more and more similar to the events of March 20. Weather radar images showed a severe squall line had formed to the west, and weather stations to the west reported cumulonimbus clouds and thunderstorms. In an afternoon meeting, under some pressure from their commanding officer, base meteorologists composed and issued the first official tornado forecast. Although they were aware of the small chance of success, they felt they had no choice, since the conditions were so similar to March 20. Equipment, which could be, was moved to bomb-proof shelters, and base personnel were moved to safer areas.
## March 25 tornado
Although storms were relatively benign up to the point where they reached Tinker, a supercell formed just west of the base, and at around 6 pm a tornado touched down on the base for the second time in six days. This second tornado caused \$6 million in damage, or \$ million in dollars. However, due to precautions enacted because of the tornado forecast, no injuries were reported, and damage totals could have been much higher.
## Legacy
The tornado prediction proved to be successful, even if its precision was mostly due to chance. Before this point, the Weather Bureau had a policy against issuing tornado warnings, mainly due to fear of panic by the public, and subsequent complacency if forecasts turned out to be false alarms.
Due to lives and costs saved, Fawbush and Miller continued their tornado forecasts, which verified at quite a high rate over the next three years. At first, they kept their forecasts secret. In the spring and summer of 1949, they issued eighteen forecasts for tornadoes within a 100-square-mile (260 km<sup>2</sup>) area, and all eighteen proved successful. In the subsequent years, while not explicitly using the word "tornado", the Weather Bureau used the pair's forecasts to predict "severe local storms".
The synoptic pattern which occurred on March 25 later became known as the "Miller type-B" pattern and is recognized as one of the most potent severe weather setups.
## See also
- Weather forecasting
- 1999 Bridge Creek–Moore tornado, another tornado that affected the airbase | [
"## March 20 tornado",
"## Investigation and tornado forecast",
"## March 25 tornado",
"## Legacy",
"## See also"
] | 1,159 | 21,787 |
39,206,569 | Erwin Arnada | 1,138,405,540 | Indonesian journalist and filmmaker | [
"1963 births",
"Indonesian film directors",
"Indonesian film producers",
"Indonesian journalists",
"Living people",
"Playboy people",
"University of Indonesia alumni"
] | Erwin Arnada (born 17 October 1963) is an Indonesian journalist and filmmaker. Born to a devout Muslim family in Jakarta, Arnada became interested in journalism in 1984, and, after a time as a photographer, he interned at the weekly Editor. Beginning in 1990 he took editorial roles in various print media, including the controversial tabloid Monitor. Arnada entered cinema in 2000, producing several films for Rexinema.
After establishing Playboy Indonesia in 2006 Arnada became the center of controversy, as Islamic groups such as the Islamic Defenders Front protested the magazine as indecent – despite it not featuring any nudity. After an extended series of trials Arnada was convicted by the Supreme Court of Indonesia and sentenced to two years in prison, beginning in October 2010. He was released the following June, when the court reversed its decision. In 2012 Arnada was nominated for a Citra Award for Best Director for his film Rumah di Seribu Ombak, based on a novel he had written in prison.
## Early life and career
Erwin Arnada was born on 17 October 1963 to Amin Ismail, a Minangkabau trader and part-time journalist, and his wife. The family owned several shops in Jakarta, including one in Blok M and another in Tanah Abang. Beginning when he was in junior high school Arnada helped the family with the shops, using his free time to read. Arnada was raised in a Muslim family and has remained a devout Muslim.
Arnada attended the University of Indonesia, working towards a degree in Russian literature. He became interested in journalism through photography. After viewing Roger Spottiswoode's 1983 film Under Fire, which followed an American photojournalist covering the Nicaraguan Revolution, Arnada applied to be a photographer for the daily newspaper Kompas. After his application was refused, in 1986 Arnada found work with the Jakarta-based football team Persija Jakarta.
## Journalism
Beginning in 1989 Arnada began an internship with the weekly Editor. He used the position as a learning experience. Arnada served as an editor of the Jakarta-based tabloid Monitor between 1990 and 1991. The publication was shut down after it published a controversial poll of readers' most respected figures; the poll showed the Islamic prophet Muhammad at number 10, below the dangdut singer Rhoma Irama.
By the mid-1990s Arnada had begun working for Bintang Indonesia, owned by the Ciputra family. He left the newspaper in 1999 as he considered the publication to devote too little space to music. He established Bintang Milenia that year, but by 2002 it had been shut down. During this time he worked extensively with MTV Indonesia and various start-ups.
After the closing of Bintang Milenia, Arnada began working with Indonesian filmmakers Rizal Mantovani, Jose Poernomo and Dimas Djayadiningrat to establish the production company Rexinema. The company's first production was Jelangkung in 2001; Arnada first received credit for Tusuk Jelangkung in 2002, which he wrote and produced. He worked on a further six films with the company between 2003 and 2007.
## Playboy Indonesia
Arnada began plans to establish Playboy Indonesia, an Indonesian version of the American men's magazine Playboy, as a challenge. He considered the magazine more than "pornography", describing it as home to "edgy and award-winning journalism pieces" which he wanted to bring to Indonesia. Arnada entered discussions with Christie Hefner, then head of Playboy Enterprises, in November 2005. He received permission to publish an Indonesian edition the next January. The first issue was launched in April 2006 and did not feature any nudity or focus on sexuality. Instead, the models were fully clothed; the issue also included an interview with author Pramoedya Ananta Toer. Later articles continued to deal with literature, as well as human rights and politics.
The magazine was, however, highly controversial. Before publication Muslim groups had expressed opposition. After publication began the Playboy Indonesia offices were attacked, as were various printers. In one instance the Islamic Defenders Front attacked the Playboy Indonesia offices in South Jakarta, leading to the building being evacuated. By May 2006 the continuous protests had left the magazine without an office. The bad publicity led advertisers to abandon the magazine. Ultimately the magazine was shut down after releasing ten issues, having moved to the predominantly Hindu island Bali since its second issue, in June 2006.
For his role in Playboy Indonesia's publication Arnada came under investigation. Investigators cited his publication of "pornographic" materials, illegal in Indonesia, as evidence of criminal indecency. On trial in April 2007, the South Jakarta District Court rejected this claim; an appeal at the Jakarta High Court affirmed this decision. After two years of appeals by prosecutors, the case reached the Supreme Court of Indonesia. The Supreme Court ruled against Arnada and sentenced him to two years in prison. In October 2010 Arnada was imprisoned in Cipinang Penitentiary Institution in Jakarta. He used this time to write three novels: Rumah di Seribu Ombak (House of the Thousand Waves), Midnite di Negeri Nonsense (Midnight in the Land of Nonsense), and Rabbit Versus Goliath.
Arnada was released in June 2011, after the Supreme Court agreed with his defense that a journalist's professional acts should be tried under the Press Code and not Criminal Code. Numerous commentators, including Arnada, described it as a victory for the country's freedom of press. However, responding to calls that he was a hero, Arnada stated "I’m not a hero, nor a victim. I’m just another version of history"; he considered his experience less drastic than that of journalists elsewhere in the country. In a 2013 interview Arnada stated that his incarceration had "muted his 'insane ambitions'"; Arnada's friends stated that he had been deeply changed by the term.
## Post-imprisonment
Arnada released his novel Rumah di Seribu Ombak in early 2012; it had been written while he was in prison. Set in Singaraja, Bali, the novel followed the friendship of two young boys from different cultural backgrounds. He adapted the novel later that year, serving as director and producer. The film was a critical success and nominated for nine Citra Awards at the 2012 Indonesian Film Festival, including Citra Award for Best Director for Arnada. It won four, including Best Editing and Best Screenplay; Arnada lost the Best Director award to Herwin Novianto of Tanah Surga... Katanya (Land of Heaven... They Say).
As of 2013 Arnada is married to Hevie Ursulla Arnada. The couple live in Bali. Arnada has expressed interest in continuing his career as a novelist, ignoring journalism as it offers "nothing new, nothing different." A movie based on his life is planned by Playboy Enterprises' Alta Loma Entertainment.
## Filmography
As of 2013 Arnada has been involved with nine feature films, mostly as producer.
- Tusuk Jelangkung (2002) – executive producer, story
- 30 Hari Mencari Cinta (2003) – producer,
- Catatan Akhir Sekolah (2004) – producer
- Cinta Silver (2004) – producer, story
- Alexandria (2005) – producer, story
- Jelangkung 3 (2007) – producer, screenwriter
- Jakarta Undercover (2007) – producer, story
- Asmara Dua Diana (2009) – producer
- Rumah di Seribu Ombak (2012) – director, producer, story | [
"## Early life and career",
"## Journalism",
"## Playboy Indonesia",
"## Post-imprisonment",
"## Filmography"
] | 1,638 | 2,518 |
34,639,051 | Dan Borislow | 1,168,190,736 | American entrepreneur, sports team owner and thoroughbred horse breeder | [
"1961 births",
"2014 deaths",
"20th-century American businesspeople",
"American soccer chairmen and investors",
"American telecommunications industry businesspeople",
"Businesspeople from Philadelphia",
"Horse breeders",
"People from Brigantine, New Jersey",
"People from Palm Beach, Florida",
"Widener University alumni"
] | Daniel Marc Borislow (September 21, 1961 – July 21, 2014) was an American entrepreneur, sports team owner, inventor, and thoroughbred horse breeder. Borislow was born and grew up in Philadelphia, Pennsylvania and attended Widener University. In 1989, he founded Tel-Save, Inc. to resell access to AT&T long-distance lines. Borislow took the company public in 1995, and two years later brokered a \$100 million deal with AOL at the "Cafe Europa." In early 1998, Tel-Save had sales of \$300 million and was valued by Wall Street investors at \$2 billion. However, due to the financial strain of paying off the AOL deal, Tel-Save lost \$221 million in 1999, and Borislow sold his stock for approximately \$300 million and retired.
In his brief retirement, he focused on his horse racing career. After selling most of his horses in 2004, Borislow set forth plans for a new voice-over-IP business which became the magicJack. Invented in 2007, the magicJack is a small product that is plugged into a computer's USB port and allows for unlimited calling from regular telephones. In 2010, YMAX, the company behind the magicJack, merged with an Israeli company and became a publicly traded corporation.
In 2011, Borislow purchased a controlling share of the Washington Freedom women's professional soccer team. He had a brief turbulent relationship with other owners and the players which ended in a battle of lawsuits and the termination of the soccer team and league.
Borislow and his family lived in Palm Beach County, Florida. Borislow died from an apparent heart attack on July 21, 2014.
## Business career
### Tel-Save
In 1989, Borislow founded Tel-Save when he was in his 20s to resell access to AT&T long-distance lines. The company was based in New Hope, Pennsylvania, and its primary market was toward small and medium-sized businesses. Borislow took the company public in 1995 and had an initial public offering of three million shares. He then invested in his own long-distance network by deploying five Lucent 5ESS-2000 switches throughout the United States. By 1997, Tel-Save was making \$20 million a year.
In 1997, Borislow negotiated a three-year deal with America Online that granted Tel-Save exclusive marketing rights to sell long-distance service to AOL users. AOL users, meanwhile, would now be billed online for their local, long distance, cellular, and internet services. His original asking price was \$50 million, but after negotiations, the figure increased to \$100 million, in addition to half of future profits and 15 percent of the company's stock. Having rescued a reeling AOL from Chapter 11, Borislow was compared to Ted Turner for his vision and marketing abilities by Bob Pittman, president of AOL. This deal with Borislow skyrocketed AOL's stock prices 231% over the next year and catapulted them to be the dominant online provider with no runner up in sight. In December of that year, Borislow was behind the merger of Tel-Save and STF, a similar company that provided telecommunications services to office buildings.
At its peak in early 1998, Tel-Save had sales of \$300 million and was valued by Wall Street investors at \$2 billion. His personal stock in the company was \$500 million. Borislow's America Online deal was the catalyst for other "portal deals" with AOL. The company's fortunes turned due to the financial strain of the AOL deal, and following an annual loss of \$221 million in 1998, he resigned as CEO of the company on January 1, 1999. Gabriel Battista was named CEO in his absence. Tel-Save is now known as Talk America.
### magicJack
In 2005, after retiring from business to focus on his horse racing career, Borislow set forth plans for a new voice-over-IP business, with an initial name of Talk4free. He created YMAX Communications Corporation in April 2006 as a communications and equipment service. YMAX's profits come from the production of the magicJack, a small device which can be plugged into a computer's USB port and allows for unlimited calling from regular telephones.
CEO Borislow invented the product in 2007 and had applied for patents from the U.S. government while he and Donald Burns shared the payment of \$25 million to start up the company.
Before Borislow launched a widespread television campaign in January 2008, the company sold less than 1,000 magicJacks per day. By June, he was selling 8,000-9,000 per day and had roughly 500,000 subscribers in total. Borislow attributes its success to its pricing, at \$40 in the first year of service and \$20 each year thereafter. Although its voice quality has been criticized, Ted Kritsonis of The Globe and Mail said the "MagicJack was still better than most cell phones I've tried."
In 2009, Florida Attorney General Bill McCollum investigated a claim that Borislow falsely marketed the magicJack as having a free 30-day trial of the product. In reality, the customer must specifically cancel the trial prior to the 30-day mark, otherwise the credit card would be automatically billed. While Borislow maintained that his company's actions were not illegal, he reached a settlement on April 15, agreeing to pay the state of Florida \$125,000 for the cost of the investigation. He said the company resolved over 500 complaints and added a disclaimer on the website clarifying the misconception.
VocalTec, an Israeli telephone company, acquired YMAX in July 2010. Since Borislow and other YMAX businessmen contributed most of the equity, they essentially run the merged business, which kept the "YMAX" moniker. VocalTec was a publicly traded company, so YMAX went on Nasdaq following the merger. In 2010, YMAX had a market capitalization of \$300 million and is expected to make \$110 million to \$125 million in sales.
## Horse racing career
After watching horse races at Philadelphia Park for some time, Borislow decided to go into the business in 1991. He frequently wagered on trainer John Scanlan's horses, so he requested Scanlan to be the conditioner for his horses. Among Borislow's first acquisitions was broodmare Beautiful Bid, who gave birth to Breeders' Cup Distaff winner and Eclipse champion Beautiful Pleasure. In 2000, he sold Beautiful Bid for \$2.6 million.
Borislow bought a \$1.8 million yearling in September 1999 that he named Talk Is Money. The thoroughbred was named after Tel-Save, with Borislow saying, "Every time someone was talking on the phone, I made money." Talk Is Money's best finish came at the Tesio Stakes in April 2001, where the horse placed second. This qualified him for the 2001 Kentucky Derby, and Borislow hired jockey Jerry Bailey, who won the 2000 Breeders Cup Juvenile with Macho Uno. At 47-1 odds, Talk Is Money came in last in the Derby and did not finish the race.
Borislow's most successful horse was Toccet, who won four graded stakes, including the Champagne and Hollywood Futurity in 2002. Toccet's name is a misspelled tribute to former National Hockey League (NHL) player Rick Tocchet. The horse was named runner-up to Vindication for the American Champion Two-Year-Old Colt in 2002, a part of the Eclipse Award. Once a favorite to enter the 2003 Kentucky Derby, Toccet was derailed by ankle injuries early in the year. He won one listed stakes after his juvenile season out of 15 starts and now stands at Castleton Lyons.
After a dispute with the Internal Revenue Service, Borislow sold a majority of his horses at the Fasig Tipton November sale in 2004. In February 2005, he was in a partnership with baseball manager Joe Torre and hockey player Keith Jones to buy Wild Desert. In June of that year, Wild Desert won the Queen's Plate off a layoff of over 10 weeks.
In May 2014, Borislow hit the Gulfstream Park Rainbow Six paying \$6.6 million. His winning Rainbow 6 ticket of all/all/all/1,4/all/all cost \$7,603.20. He played two other similar tickets with a total cost of \$22,809.60.
## Women's Professional Soccer
In 2011, Borislow bought Women's Professional Soccer (WPS) franchise Washington Freedom, moved it to South Florida, and renamed it magicJack. Borislow attracted stars of the United States national women's soccer team such as Abby Wambach and Hope Solo with salaries well above the league average of \$25,000 per year. Borislow was criticized for discriminatory treatment of lesser-known players. Cat Whitehill, a former player and sports broadcaster said, "There are so few superstars that the majority of players can be easily intimidated." She added that the stars, "never deliberately meant for the other players on the roster to be treated badly. But it does appear that they didn't consider what standing up to Borislow would mean for the rest of the team."
On July 8, 2011, the non-National Team members of magicJack voted to file a grievance through their Player's Union against Borislow. The grievance alleged that Borislow had violated the Standard Player Contract Provision, the FIFA Code of Ethics, WPS Media Policy and U.S. Soccer Federation Coaching Requirements. The suit alleged Borislow's "practice of bullying and threatening players, and his creation of a hostile, oppressive, and intimidating work environment which adversely affects players’ ability (to) perform".
The only individual player to speak out publicly about Borislow was Ella Masar. Masar told of a team meeting in which Borislow demanded that the grievance be dropped or he would terminate the players and the magicJack season.
Borislow also had problems with WPS staff and owners of other teams. In response to ongoing conflicts with Borislow, in June 2011 WPS moved to terminate his franchise at the end of the season for breach of contractual obligations. Borislow subsequently filed an injunction that would force the league into arbitration rather than settling the matter with the league's Board of Governors. On October 25, 2011, the WPS voted to terminate the franchise, accusing Borislow of violations ranging from "unprofessional and disparaging treatment of his players to failure to pay his bills." WPS also stated, "Mr. Borislow's actions have been calculated to tarnish the reputation of the league and damage the league's business relationships." The team was disbanded on October 28, 2011. The ongoing legal battle with the WPS led to the cancelling of the 2012 season for "pending legal issues" on January 1, 2012, and the magicJack soccer franchise ceased to exist.
## Philanthropy
D&K Charitable Foundation was established by Borislow in 1997 with a \$21 million stock donation. In the first two years, he tried to use the charity to buy and preserve a tract of land in New Hope, Pennsylvania. This venture failed in 1998 when the property owner declined Borislow's offer. Following this, D&K made donations to the Clearwater Endoscopy Center and the Center for Digestive Healthcare in Clearwater, Florida until 2001. Since then, it has issued varied grants to causes Borislow supported, such as \$2.75 million to two yeshivas and \$173,450 to a West Palm Beach, Florida private school.
## Personal life
Borislow lived with his wife, Michele, and two children, Danny and Kylie, in Palm Beach County, Florida. He also maintained a home in Brigantine, New Jersey.
In his free time, he enjoyed playing soccer, watching sports, and deep sea fishing.
On May 25, 2014, he won \$6,678,939.12 with the only ticket to have the winners of the final six races on Gulfstream's card. The winner of the biggest payoff in American racing history invested \$7,603.20 on the bet, which has a 20-cent base wager. He covered the full fields in all but the sixth race, in which he had only the Nos. 1 and 4. Borislow made two other similar bets on the race, total investment was \$22,809.60.
Borislow died from a heart attack (myocardial infarction) in Jupiter, Florida on July 21, 2014, reportedly after playing in an adult league soccer match. On July 25, 2014, more than 500 mourners attended a memorial service at the Kravis Center in West Palm Beach. | [
"## Business career",
"### Tel-Save",
"### magicJack",
"## Horse racing career",
"## Women's Professional Soccer",
"## Philanthropy",
"## Personal life"
] | 2,703 | 5,960 |
73,201,753 | Still Life with Books | 1,171,053,838 | 17th century painting by Jan Lievens | [
"1627 paintings",
"1628 paintings",
"17th-century paintings",
"Books in art",
"Maps in art",
"Paintings by Jan Lievens",
"Paintings in the Rijksmuseum",
"Still life paintings"
] | Still Life with Books (Dutch: Stilleven met boeken) is a c. 1627–1628 oil-on-panel painting by Dutch artist Jan Lievens. The painting is an example of the Dutch vanitas genre and an example of Dutch realism. The painting was privately owned until it was purchased by the Rijksmuseum in 1963. For many years experts thought it was the work of Rembrandt.
The still life includes ledgers (books), a pewter jug, and pewter plate. There is also a bread roll, a Berkemeyer glass, two globes, a palette, and a lute case. Used and worn items appear in the back of the image and are contrasted with the fresh bread and other new items in the foreground.
## History
Still Life with Books was privately owned until the 20th century. The Rijksmuseum in Amsterdam purchased the painting and it has been in their collection since 1963. Dutch artist Jan Lievens completed the painting c. 1627–1628. Several of Lievens' early works (including Still Life with Books) were thought to be the work of the great Dutch master painter Rembrandt. Lievens and Rembrandt shared a studio, which may be how the painting was attributed to Rembrandt. Most experts now attribute the work to Lievens. X-radiographs have revealed that the pitcher which appears in the painting was painted over an incomplete book. Objects which appear to the left were added later.
### Provenance
The painting was privately owned in England. It then appeared at an art dealer, Basil Wheeler. Next it was sold to P. Potter by Montpellier Galleries in London. On 28 April 1960 art dealer Han Jüngeling from The Hague acquired the painting. From 1960 to 1963 it was loaned to the Dordrechts Museum. In 1963 The Rijksmuseum purchased the painting. It was displayed at the Milwaukee Art Museum from 6 February 2009 to 26 April 2009 for an exhibition titled "Out of Rembrandt's Shadow".
## Description
Still Life with Books is an oil-on-panel, with dimensions of 91 cm (36 in) × 120 cm (47 in). It is in the style of Spanish vanitas paintings. The idea of this style of painting was to show possessions and wealth are fleeting and mean nothing when one is faced with death. The vanitas genre involves subject matter which includes symbols depicting mortality or the perishable nature of material things. The style can be seen in 17th-century Dutch still life paintings.
In the image there is a lute case, which resembles a lute. The images of books display the bindings and they have soft covers of either leather or parchment. These books are used primarily for keeping documents or bills. The books are portrayed as empty bindings without substance. The items in the image all appear to be old and discarded things. In the image there is a pewter jug, and a pewter plate with bread roll. There are two globes and just above the lute case on the wall there is a palette.
Dutch art historian Pieter J.J. van Thiel stated that the lute case is the oddest item included in the painting. The painting is well-lit with light fading toward the back. He noted that many still life paintings have lutes, but they never have a lute case. He described the books which are prominently displayed in the painting, saying the bindings on the ledgers are not ordinary and they almost never appear in a 17th-century painting. Several ledger books in the painting have limp bindings without structure but two have a binding with laced-in supports along the spine. The ledger on the bottom with laced supports has deteriorated.
The painting underwent a complicated X-radiograph. After studying X-radiographs Van Thiel also believes the bread roll, glass, jug and plate were all added after the painting was completed. Van Thiel states that it was assumed the addition of the items was the work of another painter. Recently some authorities believe these items were added as the artist's "late inspiration". The conclusion is that Van Thiel does not know if the additional items were painted later, or it was an "uncharacteristic working method adopted by the artist".
In 1627 Lievens also painted a similar work titled, Vanitas still life. In the painting he used a skull, a violin, an extinguished candle and an hourglass, ostensibly to illustrate mortality. The painting was also attributed to Rembrandt for many years until a 2014 examination by experts at the Rijksmuseum determined that it was the work of Lievens.
## Reception
In the book, Crowning Glories Netherlandish Realism and the French Imagination During the Reign of Louis XIV, Harriet Stone called the painting "complex and richly inconsistent". Writing for The New York Review of Books, Benjamin Moser stated that the painting is a "large and deceptively simple work". Writing for Financial Times, Jackie Wullschläger referred to the painting as, "vanitas of leather bindings and shriveled old papers ... and meticulous Dutch realism". In the book, Still life Paintings from the Netherlands, 1550–1720, the authors said that "the entire work has an impulsive character".
Van Thiel said the meaning of the painting is open to debate. Although the painting was regarded as a vanitas Alan Chong (Currier Museum of Art) and Wouter Kloek (former curator at the Rijksmuseum) have said there are no obvious vanitas symbols – like a skull or an hourglass. Art historian Arthur K. Wheelock Jr. saw the bread as an unmistakable reference to the Eucharist. Van Thiel has ascribed new meaning to the painting: he stated that the ledgers are not actually books, but they are files. Unlike most scholarly books, files hold practical information like records. Ledgers occasionally appear in still life paintings but they are never featured so prominently as the main focus of a painting. The main feature of the ledger bindings may be to demonstrate their "ruinous state". Bindings like the ones in the painting have been featured in images of moneychangers, lawyers, and tax collectors. The degraded ledgers may represent degenerate people and the ledgers contrast with "The flawless jug, the gleaming glass of white wine and the fresh white roll." Those gleaming and fresh items may represent the opposite of corruption, or they may represent religion: wine and bread symbolize God for Christians. Van Thiel called the composition ingenious; coupling the positive elements with the negative. He concluded his critical analysis by observing that there is no text or inscription which accompany the painting, and that leaves individuals to ascribe their own meaning to the items in the painting.
## See also
- Still life paintings from the Netherlands, 1550–1720
- Still Life: An Allegory of the Vanities of Human Life, c. 1640 painting | [
"## History",
"### Provenance",
"## Description",
"## Reception",
"## See also"
] | 1,459 | 32,217 |
2,892,991 | Absolutely Sweet Marie | 1,146,044,345 | null | [
"1966 songs",
"Bob Dylan songs",
"Song recordings produced by Bob Johnston",
"Songs written by Bob Dylan"
] | "Absolutely Sweet Marie" is a song by American singer-songwriter Bob Dylan, which was released on the third side of the double album and Dylan's seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. It was recorded at around 1:00 am on March 8, 1966, at Columbia Studio A, Nashville. Some commentators have interpreted the song as being about sexual frustration.
The song has received critical acclaim; Rolling Stone placed the track 78th in their 2015 ranking of the 100 greatest Dylan songs. Dylan first performed "Absolutely Sweet Marie" live in concert on the first night of his Never Ending Tour, in Concord, California, on June 7, 1988. In all, he has played the song in concert 181 times, most recently in 2012. It was later included on The Original Mono Recordings (2010) and alternate versions appeared on The Bootleg Series Vol. 12: The Cutting Edge 1965–1966 (2015). George Harrison performed the song for The 30th Anniversary Concert Celebration (1993).
## Background and recording
Bob Dylan's sixth studio album Highway 61 Revisited was released in August 1965. Bob Johnston had produced all but the first two of the six recording sessions, and was again the producer when recording started for Dylan's next album on October 5, 1965, at Columbia Studio A, New York City. Further sessions in New York took place on November 30, and January 21, 25 and 27, 1966. Johnston suggested a change of location to Nashville, after the January sessions were unproductive. Robbie Robertson and Al Kooper, who had both played at earlier sessions, were joined by experienced Nashville session musicians, including Joe South, Charlie McCoy, Wayne Moss, and Kenneth Buttrey, for sessions at Columbia Studio A, initially on February 14, 1966.
"Absolutely Sweet Marie" was recorded at around 1:00 am on March 8, 1966, during the 10th album session, that had started at 9:30 pm the previous evening; it was the only song played during the session. Dylan sang and played harmonica, accompanied by Robertson, Moss, South and Mac Gayden (electric guitars); McCoy (acoustic guitar); Kooper (organ); Hargus "Pig" Robbins (piano); Henry Strzelecki (electric bass guitar); and Buttrey (drums). A rehearsal was followed by a complete take; a false start; a second complete take; and a recording of part of the song (an "insert"). The session finished at around 4:00 am. The second of the complete takes was released on Blonde on Blonde, Dylan's seventh studio album, on June 20, 1966. The LP record was the first rock double album, and "Absolutely Sweet Marie" appeared as the third of five tracks on the third side. The first complete take was released on The Bootleg Series Vol. 12: The Cutting Edge 1965–1966 in 2015.
## Composition and lyrical interpretation
"Absolutely Sweet Marie" was written by Dylan in the studio. The handwritten lyrics from the session largely reflect the recorded versions, apart from several changes in the first verse. The original lyrics omit the "railroad gate" that is in the first line of the released version, and although the studio log shows the song listed as "Where Are You Tonight, Sweet Marie?", the line does not appear in the written lyrics or the first take. The song's bridge, which refers to a "riverboat captain" who knows the narrator's fate, is also not in the original lyrics, although there is a note that "they all know my fate". Oliver Trager notes that possible inspirations for the name of the song have included "everything from a type of biscuit to a famous carnival 'Fat Lady' to a popular nineteenth century song by Percy French ... ('Mountains of the Mourne')". Philippe Margotin and Jean-Michel Guesdon describe the song as a "mid-tempo rock song", with similarities to a British Invasion sound. Buttrey's drumming features prominently on the track; organist Kooper remarked that "the beat is amazing, and that's what makes the track work".
The narrator of the song is imprisoned. In Vanity Fair, Mike Hogan wrote that the song was about "being at the mercy of a much stronger woman". Journalist Paul Williams considers that "the whole album is about sexuality and power", and names "Absolutely Sweet Marie" as one of several songs on Blonde on Blonde referring to "the power and confusion of sexual connection, the mysteries and frustrations and rewards of the sexual encounter (always tied up in the problem or fear of being misunderstood)". Critic Andy Gill and Trager both interpret the song as about sexual frustration, citing the lines where the narrator refers to "beating on my trumpet" after mentioning "it gets so hard, you see". Gill notes that images used in the song, such as railroads, had gained a sexual connotation in songs; "white horses" in the traditional "She'll Be Coming 'Round the Mountain", and Blind Lemon Jefferson's "See That My Grave Is Kept Clean", are a "blues image of sexual potency". Scholar of English Louis Renza remarked that Dylan's song "unquestionably traffics in sexual innuendo from first to last".
The song features mosaic rhymes in the style of poet Robert Browning, and as used in some Tin Pan Alley songs. Scholar of literature Jim Curtis wrote that "Absolutely Sweet Marie" "has a five-line stanza which rhymes ababb, where the a rhymes are consistently mosaic rhymes. Thus, in the first stanza Dylan rhymes 'Jump it/trumpet' and in the second stanza 'half sick/traffic.'" Music scholar Larry Starr wrote of "Absolutely Sweet Marie" that it was "probably the most unconventional of the Blonde on Blonde songs from a formal standpoint". He highlighted how the bridge music features twice, with different lyrics, and a "sudden, striking beginning on an out of key chord".
During a 1991 interview published in Paul Zollo's book Songwriters on Songwriting (1997), Dylan gives an idea of how he sees the song in his explanation of a line about a "yellow railroad":
> That's about as complete as you can be. Every single letter in that line. It's all true. On a literal and on an escapist level.... Getting back to the yellow railroad, that could be from looking someplace. Being a performer, you travel the world. You're not just looking out of the same window every day. You're not just walking down the same old street. So you must make yourself observe whatever. But most of the time it hits you. You don't have to observe. It hits you. Like, "yellow railroad" could have been a blinding day when the sun was so bright on a railroad someplace and it stayed on my mind... These aren't contrived images. These are images which are just in there and have got to come out.
The song contains the phrase "To live outside the law you must be honest". Jonathan Lethem points to a very similar line by the screenwriter Stirling Silliphant in the 1958 film The Lineup: "When you live outside the law, you have to eliminate dishonesty"; without attribution, Lethem imagines that Dylan "heard it ... cleaned it up a little, and inserted it into" this song. This possible allusion is also noted by Trager.
## Critical reception
The Sun-Herald's reviewer gave a negative view of what they referred to as "pop songs" on Blonde on Blonde, mentioning "Absolutely Sweet Marie" and other tracks, dismissing them with the comment that "the fancy words are inclined to hide the fact that there is nothing there at all".
Dylan biographer Robert Shelton found the track "catchy and bright, sparked off by a great organ proclamation ... The band's ensemble sound is tight, over insistent drumming." Michael Gray wrote that "the words are borne along on a sea of rich red music, bobbing with a stylish and highly distinctive rhythm". Gray praised Dylan's vocal performance as amongst his best, and regards the delivery of the line which concludes each verse as having "as much alert variety in delivery as would be humanly yet still felicitously possible". Trager wrote that the track is "an elixir to those who found Dylan's mid-'60s songs a bit dour ... an exuberant, pure Beale Street, up-tempo skip complete with a slew of memorable lines that could be anyone's koan". A reviewer for the Runcorn Weekly News described "Absolutely Sweet Marie" as a "real gem". Curtis praised how "discipline and verbal mastery to create such stable structures for his startling imagery. The tensions between his surrealistic, unpredictable images and his traditional, predictable stanzaic forms produces [sic] the extraordinary effects to which we responded so intensely."
Rolling Stone placed the track 78th in their 2015 ranking of the 100 greatest Dylan songs, calling it "a cryptic love letter that rides a bubblegum electric keyboard and sparkling blues-rock guitar". Author John Nogowski highlighted the mid-song "wild harmonica solo", and rated the song "A". In 1991, Dylan said of the song: "It's matured well ... It's like old wine."
## Live performances and later releases
Dylan first performed "Absolutely Sweet Marie" live in concert on the first night of his Never Ending Tour, in Concord, California, on June 7, 1988. According to Dylan's official website, he has played the song live 181 times, most recently in 2012. The track was included on albums called Bob Dylan's Greatest Hits 2 in the Netherlands and West Germany in 1967, with "Marie" wrongly spelled as "Mary" on the sleeve and label. The same spelling error occurred on other releases in varying formats of Bob Dylan's Greatest Hits 2 in France, India, and Yugoslavia. The song was included on The Original Mono Recordings (2010) and alternate versions appeared on The Bootleg Series Vol. 12: The Cutting Edge 1965–1966 (2015).
## Personnel
Credits adapted from the That Thin, Wild Mercury Sound: Dylan, Nashville, and the Making of Blonde on Blonde book.
Musicians
- Bob Dylan – vocals, harmonica
- Charlie McCoy – acoustic guitar
- Robbie Robertson – electric guitar
- Wayne Moss – electric guitar
- Joe South – electric guitar
- Mac Gayden – electric guitar
- Al Kooper – organ
- Hargus "Pig" Robbins – piano
- Henry Strzelecki – electric bass guitar
- Kenneth Buttrey – drums
Technical
- Bob Johnston – record producer | [
"## Background and recording",
"## Composition and lyrical interpretation",
"## Critical reception",
"## Live performances and later releases",
"## Personnel"
] | 2,268 | 34,556 |
43,840,178 | The Boat Race 1871 | 1,154,812,440 | 1871 boat race between Oxford and Cambridge universities | [
"1871 in English sport",
"1871 in sports",
"April 1871 events",
"The Boat Race"
] | The 28th Boat Race between crews from the University of Oxford and the University of Cambridge took place on the River Thames on the 1 April 1871. The race, umpired by Joseph William Chitty, was won by Cambridge by one length in a time of 23 minutes 10 seconds for their second consecutive victory.
## Background
The Boat Race is a side-by-side rowing competition between the University of Oxford (sometimes referred to as the "Dark Blues") and the University of Cambridge (sometimes referred to as the "Light Blues"). The race was first held in 1829, and since 1845 has taken place on the 4.2-mile (6.8 km) Championship Course on the River Thames in southwest London. Cambridge went into the race as reigning champions, having defeated Oxford by three lengths in the previous year's race, while Oxford led overall with sixteen wins to Cambridge's eleven.
Oxford were coached by W. D. Benson (their non-rowing president, who had rowed three times for the Dark Blues in the 1868, 1869 and 1870 races). Cambridge's coach was John Graham Chambers (who rowed in the 1862 and 1863 race, and was a non-rowing president for the 1865 race) and John Hilton Ridley (who rowed in the 1869 and 1870 races).
The race was umpired by Joseph William Chitty who had rowed for Oxford twice in 1849 (in the March and December races) and the 1852 race, while the starter was Edward Searle.
## Crews
The Oxford crew weighed an average of 12 st 4.125 lb (76.1 kg), 2.75 pounds (1.2 kg) more than their opponents. The Cambridge crew saw only three new rowers, with five returning from the 1870 race, including the Cambridge University Boat Club president John Goldie and William Henry Lowe in their third appearance in the event, along with the cox Henry Erskine Gordon. Similarly, Oxford saw five of their crew return, including S. H. Woodhouse at bow and Thomas Southey Baker who were participating in their third Boat Races.
## Race
There was "little or no tide and head wind over part of the course" according to Drinkwater. Cambridge won the toss and elected to start from the Surrey station, handing the Middlesex station to Oxford. The umpire, Chitty, got the race underway at 10.08 a.m., with Cambridge taking an early lead. The Light Blues had a clear water advantage by the Point and held a two-length lead by the time the crews shot Hammersmith Bridge. Despite a spurt instigated by Oxford stroke Robert Lesley at Barnes Bridge, Goldie remained steady until, before the final twenty strokes, he increased the stroke rate and saw Cambridge home by one length in a time of 23 minutes 10 seconds for their second consecutive victory and took the overall record to 16–12 in Oxford's favour. | [
"## Background",
"## Crews",
"## Race"
] | 624 | 4,809 |
2,846,624 | As I was going by Charing Cross | 1,158,816,479 | English language nursery rhyme | [
"English children's songs",
"English folk songs",
"English nursery rhymes",
"Songs about London",
"Songwriter unknown",
"Street cries",
"Traditional children's songs",
"Year of song unknown"
] | "As I was going by Charing Cross" (sometimes referred to as "As I was going to Charing Cross"), is an English language nursery rhyme. The rhyme was first recorded in the 1840s, but it may have older origins in street cries and verse of the seventeenth century. It refers to the equestrian statue of King Charles I in Charing Cross, London, and may allude to his death or be a puritan satire on royalist reactions to his execution. It was not recorded in its modern form until the mid-nineteenth century. It has a Roud Folk Song Index number of 20564.
## Lyrics
Modern versions include:
> > As I was going by Charing Cross, I saw a black man upon a black horse; They told me it was King Charles the First- Oh dear, my heart was ready to burst!
The Roud Folk Song Index, which catalogues folk songs and their variations by number, classifies the song as 20564.
## Origin
The rhyme is thought to refer to the equestrian statue of Charles I (r. 1625–49), which was erected after the Restoration in 1660 and was moved in 1675 to the site of the old Charing Cross in central London. The tarnished bronze statue is largely dark in colour, but the "black" may refer to the king's hair colour.
The last line may refer to the reaction of the crowd when he was beheaded, or it may be a puritan satire on royalist reactions to the event. The rhyme may also have been produced out of a combination of existing couplets. A traditional London street cry was:
> > I cry my matches at Charing Cross, Where sits a black man on a black horse.
or
> > I cry my matches by old Charing-Cross, Where sitteth King Charles upon a black horse.
A note of a ballad in a seventeenth-century manuscript at Oxford contains the lines:
> > But because I cood not a vine Charlles the furste By my toth my hart was readdy to burst
The first part was printed as a children's rhyme in a variation of the more famous "Ride a Cock Horse" in Pretty Tales, published in 1808, with the lyrics:
> > Ride a Cock Horse, To Charing Cross, To see a black man, Upon a black horse.
The modern version, which may combine elements of this rhyme with a reference to the execution of Charles I, was first collected and printed by James Orchard Halliwell in the 1840s.
## See also
- Street cries | [
"## Lyrics",
"## Origin",
"## See also"
] | 543 | 32,483 |
57,204,207 | D. H. Turner | 1,171,098,186 | English museum curator and art historian | [
"1931 births",
"1985 deaths",
"Academics of the University of Cambridge",
"Academics of the University of East Anglia",
"Alumni of Hertford College, Oxford",
"British medievalists",
"Employees of the British Library",
"Employees of the British Museum",
"English art historians",
"English librarians",
"People educated at Harrow School",
"People from Northampton"
] | Derek Howard Turner (15 May 1931 – 1 August 1985) was an English museum curator and art historian who specialised in liturgical studies and illuminated manuscripts. He worked at the British Museum and the British Library from 1956 until his death, focusing on exhibitions, scholarship, and loans.
Following several years spent at a hospital and at an Anglican Benedictine abbey, Turner found employment in the British Museum's Department of Manuscripts at the age of 25. Serving first as assistant keeper, and later as deputy keeper, within two years of his hiring he helped the museum select manuscripts for purchase from the Dyson Perrins collection and organised his first exhibition; in the 1960s he also took teaching posts at the Universities of Cambridge and East Anglia.
Turner moved to the British Library when custodianship of the museum's library elements changed in 1973. At the library, he helped oversee several major exhibitions, and organise the international loans of significant works. He was closely involved with the lending of a copy of Magna Carta for the 1976 United States Bicentennial celebrations, and in succeeding years helped arrange the loans of several medieval manuscripts for the first time in half a millennium. Two such loans sent the Gospels of Tsar Ivan Alexander to Bulgaria for the first time since the 1300s, and the Moutier-Grandval Bible to Switzerland, its home throughout the Middle Ages.
## Early life and education
Turner was born on 15 May 1931 in Northampton, in central England. An only child, he was born to the World War I veteran Maurice Finnemore Turner and his wife Eva (née Howard). After attending Winchester House School in Brackley, in the summer of 1945 Turner was sent on scholarship to Harrow. In 1950, a Harrow scholarship to read modern history sent him to Hertford College at the University of Oxford; he graduated in the summer of 1953.
Before his employment at the British Museum, Turner worked at a hospital, and spent time at the Anglican Benedictine abbey Nashdom. There he both studied and practised liturgy, and met the medieval music specialist Dom Anselm Hughes.
## Career
### At the British Museum
Turner began work as an assistant keeper of the Department of Manuscripts at the British Museum on 3 December 1956. Influenced by his time at Nashdom, he specialised in medieval liturgical studies, and influenced by the lavish decoration of liturgical manuscripts, he likewise studied illuminated manuscripts.
In 1958, Turner organised his first exhibition, showcasing a collection of Byzantine manuscripts. The same year he helped the museum select illuminated manuscripts to purchase from the collection of Charles William Dyson Perrins, before it was offered publicly. The museum acquired ten of the collection's 154 manuscripts, including two bequests by Perrins, and eight purchases at a collective and below-market . These included the Gorleston Psalter, the Khamsa of Nizami, and the book of hours by William de Brailes, and were the subject of a paper by Turner the following year. Upon the December 1960 resignation of Julian Brown, a co-author of the paper who left for the chair of palaeography at King's College London, Turner assumed responsibility for the museum's collection of illustrated manuscripts.
In his new role heading the collection of illustrated manuscripts, Turner focused on scholarship. His resulting publications ranged from those that his colleagues described as "extremely erudite", to those aimed at a popular audience. In 1965 alone, Turner published four books: Early Gothic Illuminated Manuscripts in England, the fifth volume of the British Museum's Reproductions from Illuminated Manuscripts (highlighting acquisitions made since the 1928 fourth volume), English Book illustration, 966–1846 (timed to coincide with the Fourth International Congress of Bibliophiles), and Reichenau Reconsidered: a Re-assessment of the Place of Reichenau in Ottonian Art, He followed up the first book with Romanesque Illuminated Manuscripts in the British Museum in 1966, with both becoming standard introductions to their subjects. Reichenau Reconsidered, meanwhile, analysed a set of exceptional manuscripts (including the Codex Egberti, Egbert Psalter, and Poussay Gospels) and questioned their traditional attribution as coming from a scriptorium at Reichenau Abbey. If the analysis was not conclusive, it was reviewed as a "far-reaching perusal" that "demands that medievalists rethink their positions on the controversy".
In the mid 1960s, Turner began teaching art history part-time at the Universities of Cambridge and East Anglia, repurposing as teaching material his recent works on English Gothic and European Romanesque illumination. He also undertook the chairmanship of two organisations involved with liturgical studies: the Plainsong and Medieval Music Society in 1964, and the Henry Bradshaw Society in 1967. In 1971, Turner helped secure the Anderson Pontifical for the museum's collection, after it was discovered in the stables of Brodie Castle the previous year and placed for sale at Sotheby's. He was promoted to deputy keeper in 1972, following the retirements of the keeper Theodore Cressy Skeat and the senior deputy keeper Cyril Ernest Wright.
### At the British Library
A year after Turner's promotion to deputy keeper, the Department of Manuscripts was subsumed into the British Library, and he with it; subsequently his role shifted to the curation of exhibitions, and to responsibility for loans from the collection of manuscripts. In the former role Turner helped oversee three major exhibitions: The Christian Orient in 1978, The Benedictines in Britain in 1980, and, with Janet Backhouse and Leslie Webster, The Golden Age of Anglo-Saxon Art in 1984. Turner helped write exhibition catalogues for the latter two. The Benedictines in Britain, attended by the leader of each of the country's Benedictine communities, "allowed him", his colleagues wrote, "to give full rein to one of his favourite pastimes, creating a guest list on which every style and title should appear with absolute accuracy. He spent many happy hours in the bookstacks, consulting directories in pursuit of this perfection!" Turner also inspired the 1983 exhibition Renaissance Painting in Manuscripts: Treasures from the British Library, shown at the J. Paul Getty Museum in Malibu and the Pierpont Morgan Library in New York, before coming to London.
Turner was also responsible for facilitating the international loans of important manuscripts. In the process he enjoyed interacting with the Foreign and Commonwealth Office—and poring over abstruse indemnity arrangements—leading to the loan of a copy of Magna Carta to Washington, D.C. for the 1976 United States Bicentennial celebrations. The copy, the oldest of the four surviving, spent a year in the United States Capitol, where it was viewed by dignitaries including Queen Elizabeth II and Lord Elwyn-Jones. Turner, for his part, maintained a lifelong refusal to cross the Atlantic. The following year, he helped lend the Gospels of Tsar Ivan Alexander to Sofia, Bulgaria, where it received national publicity; it had last been in the country in the fourteenth century. In 1979 he helped lend the Leningrad Bede to the Bede Monastery Museum in Jarrow and to Bloomsbury, and in 1981 Turner saw the Moutier-Granval Bible return to Jura, Switzerland, its home throughout the Middle Ages.
## Personal life
Turner was described in The Times as "[a]n intensely sensitive spirit, ... for whom living was no easy matter"; colleagues remembered him as "a memorable—if unpredictable—character". An only child unused to close-knit family life, he enjoyed the company of those a generation or profession removed from him over that of his peers and contemporaries. Learning that the son of a commuting acquaintance was interested in Anglo-Saxon literature, Turner invited the two to the library to handle the Beowulf manuscripts, but among colleagues he had "a not undeserved reputation for being difficult and could chill the blood of the more timid". He nevertheless shared a close working relationship with Janet Backhouse, also of the British Museum and later Library, and introduced her to the exhibition and loans of manuscripts.
The unexpected death of his mother in 1966–1967, and his father's subsequent move into a nursing home, precipitated what Backhouse termed a "radical change" in Turner's life. He moved from his bedsitter by Kew Gardens to his parents' flat in Henley-on-Thames, his dress became flamboyant, and his published output declined. Much of his social interaction came at the museum and library; once offered several months' leave by the keeper of manuscripts Daniel Waley to work on a Yates Thompson manuscript catalogue, which Turner thought could be his magnum opus, he nevertheless declined, lest he sacrifice his daily interactions with colleagues.
Turner died suddenly on 1 August 1985. Obituaries were published in The Times, and in a special issue of The British Library Journal, featuring contributions related to his own range of interests. Various studies were also published in his memory, including "The Text of the Benedictional of St Æthelwold", a paper begun by Turner and finished by Andrew Prescott, then of the British Library.
## Publications
Turner published widely, beginning soon after his employment at the British Museum. After his promotion to deputy keeper his output dwindled, and primarily focused on current exhibitions and recent acquisitions. Such later publications included a facsimile of the Hastings Hours, one of the library's greatest Flemish manuscripts, which was bequeathed to the collection under his watch. With the work "almost ignored previously", one reviewer wrote, Turner's facsimile was "stunning visually and always interesting"; another described a "brilliant introduction" that focused on history rather than art criticism.
### Books
### Articles
### Chapters | [
"## Early life and education",
"## Career",
"### At the British Museum",
"### At the British Library",
"## Personal life",
"## Publications",
"### Books",
"### Articles",
"### Chapters"
] | 2,083 | 42,126 |
3,466,995 | Another Century's Episode | 1,165,078,804 | 2005 video game | [
"2005 video games",
"Action games",
"Bandai Namco Entertainment franchises",
"Banpresto games",
"Crossover video games",
"FromSoftware games",
"Japan-exclusive video games",
"Multiplayer and single-player video games",
"PlayStation 2 games",
"PlayStation 2-only games",
"Video games about mecha",
"Video games developed in Japan"
] | is a 2005 third-person shooter video game published by Banpresto in Japan for the PlayStation 2. The player controls a mech from one of nine different anime robot franchises to destroy opposing forces before they steal a prized energy source for devious purposes. The game is divided into several different missions, where players use their mech and arsenal of weapons to fulfill mission objectives, ranging from destroying enemy machines to protecting a specific target.
Banpresto enlisted the help of FromSoftware, a Japanese developer known for its Armored Core series, to assist in the game's production. As Banpresto held the exclusive video game rights to several popular robot series, it envisioned the idea of a large crossover similar to Konami's Zone of the Enders games. It was designed by Yui Tanimura, who later directed Dark Souls II and co-directed Dark Souls III and Elden Ring, and incorporated music performed by songstress Hitomi Shimatani.
Another Century's Episode was released to strong sales, and was one of the year's top-selling video games in Japan. Critics favorably compared its gameplay to Zone of the Enders, and enjoyed its wide selection of mechs and mission objectives. The game's success lead many of the series represented, such as Metal Armor Dragonar, to see a renewal in popularity. It spawned a new franchise that includes soundtrack albums, merchandise, and four sequels.
## Gameplay
Another Century's Episode is a third-person shooter game. Players pilot a mecha from one of nine different anime series, each posing their own unique weapon loadouts and attack styles. Represented series include Aura Battler Dunbine, Mobile Suit Zeta Gundam, Brain Powered, and Blue Comet SPT Layzner, in addition to mechas from other FromSoftware and Banpresto franchises like Armored Core and Super Robot Wars. Its gameplay has been compared to the Zone of the Enders series; players fly their mecha around a large cubic environment and must complete a variety of mission objectives, each increasing in difficulty as they progress through the game. Objectives range from destroying formations of enemy mechas, to protecting a specific building from opposing forces, to clearing out a path of mines for a space shuttle.
Mechas can boost, or "dash", themselves forward. By dashing, players can avoid being hit by obstacles or enemy projectiles, however doing so drains the dash gauge and must recharge before it can be used again. Mechas can carry five different weapons or abilities, such as machine guns and other firearms. Most weapons need to recharge after every use, although some have limited ammunition and cannot be used once they are depleted. By firing the weapon close to a nearby enemy, players can perform a melee attack, which can be used to perform long chain reactions.
## Plot
In the future, mankind has rapidly advanced in technology, to the point where colonies orbiting Earth and Mars are constructed. However, political and economical strife have led to a recession that has affected the colonies the hardest. To deal with these issues, the multitude of Earth governments have united under the banner of the United Community of Earth (UCE). The attempted reorganization instead causes the formation of rebel forces, such as White Fang and the United Lunar Empire Gigano. To counter this, the UCE establishes a special task force, the Londo Bell, to eradicate them and similar groups.
During the same time frame, the UCE began the development of a new energy source called "E2", created in response to the global energy crisis affecting the Earth-orbiting colonies. Though powerful, E2 is also highly volatile, with many of the rebelling forces seeking to steal it for their own purposes. This leads to a worldwide war against the opposing groups, with the Londo Bell being sent out to stop them from stealing. The player assumes the role of a squad member working for the Londo Bell, teaming up with others to destroy those that seek to steal E2. In one mission, the Londo Bell destroys a shuttle fleet led by Char Aznable, carrying surplus amounts of E2. Undeterred, Aznable flees to the colonies orbiting Mars as the Londo Bell pursue him. A climactic battle ensues that leads to the destruction of the E2 energy and Aznable's defeat. However, using the refugee ship incident, hardliner Duke Dermail seizes power within the UCE government, replacing the pacifist Relena Peacecraft and foreshadowing the coming of a new war.
## Development and release
Another Century's Episode was developed as part of a collaboration between Banpresto and FromSoftware. A subsidiary of Bandai and the holder for the exclusive video game rights to several Japanese mecha franchises, Banpresto conceptualized a large crossover between them following the success of Konami's Zone of the Enders series. In addition to video games, Zone of the Enders expanded into other forms of media such as anime tie-ins, which is believed to have been what persuaded Banpresto to begin production of Another Century's Episode. To assist in the game's development, Banpresto enlisted the help of FromSoftware, a developer known for its Armored Core franchise. It was designed by Yui Tanimura, who would later direct the Dark Souls games, and directed by Tomohiro Shibuya. The game's opening and ending themes were performed by songstress Hitomi Shimatani; she recalled the recording session having "high tension".
Banpresto announced Another Century's Episode on September 1, 2004, and demonstrated it during that year's Tokyo Game Show on September 24. The game was released in Japan on January 27, 2005. To commemorate its release, Enterbrain published a strategy guide that detailed its characters, mechas, and setting. On November 2, it was re-released under the PlayStation the Best budget label.
## Reception
Another Century's Episode was a commercial hit for both FromSoftware and Banpresto. In its first week on the market, the game sold over 175,000 copies and became a best-seller for the platform. By the end of 2005, A.C.E. was one of the top-selling video games in Japan, with sales exceeding 254,000. It performed considerably better than FromSoftware's previous licensed game, the negatively-received Spriggan: Lunar Verse for the PlayStation.
The four reviewers from Famitsu magazine complimented the selection of playable mechas, their powerful attacks, and the attention to detail given to them. However, they were critical of the way they controlled, specifically while changing their altitude and orientation. Ollie Barder, a writer for GameSetWatch, likened its gameplay to Sega's Virtual On arcade fighter and its overall concept to Konami's Zone of the Enders series. He wrote that it felt like a spiritual successor to Virtual On in the way it controlled, believing that "in many ways it's a subtle change over Virtual On's initial implementation and more akin to the anime combat that inspired Sega's real robot franchise in the first place." Barder pointed out the flaws in its combat system, specifically its imperfect hit detection and slow game speed.
Retrospectively in 2012, Hardcore Gaming 101 writer Arshad Abdul-Aal favorably compared the gameplay and style of Another Century's Episode to Zone of the Enders, expressing his appreciation towards the variety of missions and solid selection of mechas. Abdul-Aal believed that the game's negative reputation online, likely due to the declining quality of its sequels, was undeserved, and concluded that it made for a fun and enjoyable game on its own accord.
## Legacy
Many of the mecha series represented in Another Century's Episode gained popularity as a result of its commercial success; for instance, Metal Armor Dragonar received a DVD box set and a line of art books after one of its mechas was featured in A.C.E.. This effect has been compared to Banpresto's Super Robot Wars series, which similarly increased the popularity of franchises that were represented in the games.
Another Century's Episode spawned a new franchise, consisting of merchandise, albums, and four sequels. The first of these, Another Century's Episode 2 (2006), continued the story of the original and improved many of its faults, such as a refined melee combat system and faster pacing. Another Century's Episode 3: The Final (2007) was envisioned as the final installment, adding new features such as branching story paths and additional playable mechas. The fourth entry, Another Century's Episode: R (2010), was noticeably more plot-centric than previous installments, focusing primarily on an encompassing storyline and borrowing elements from role-playing games. Another Century's Episode Portable (2011), the last entry, omits the story entirely and instead focuses on completing a series of missions and destroying boss units. R and Portable were published by Namco Bandai Games, which in 2008 reorganized Banpresto into a toy company and absorbed its video game operations (although the games were published under the Banpresto brand). | [
"## Gameplay",
"## Plot",
"## Development and release",
"## Reception",
"## Legacy"
] | 1,852 | 26,109 |
2,400,608 | 145th Street station (IRT Lenox Avenue Line) | 1,172,887,186 | New York City Subway station in Manhattan | [
"1904 establishments in New York City",
"Harlem",
"IRT Lenox Avenue Line stations",
"New York City Subway stations in Manhattan",
"Railway and subway stations on the National Register of Historic Places in Manhattan",
"Railway stations in the United States opened in 1904"
] | The 145th Street station is a station on the IRT Lenox Avenue Line of the New York City Subway. Located at the intersection of 145th Street and Lenox Avenue in Harlem, Manhattan, it is served by the 3 train at all times. Built for the Interborough Rapid Transit Company (IRT), the 145th Street station contains two side platforms that can only fit six and a half train cars, unlike almost all other IRT stations, which are able to fit full-length ten-car trains.
The station opened in 1904 as one of the northern termini of the original subway line operated by the IRT. With the construction of the Harlem–148th Street station to the north in the 1960s, the 145th Street station was planned to be closed, but due to community opposition, and passengers' protests, the station remained open. Since the 145th Street station is the second-to-last stop on the line, entry is provided only to the southbound platform, although northbound customers are allowed to exit from this station. The station was added to the National Register of Historic Places in 2005, and was closed from July to November 2018 for extensive renovations.
The 145th Street station contains two side platforms and two tracks. The station was built with tile and mosaic decorations. The platforms contain exits to Lenox Avenue's intersection with 145th Street and are not connected to each other within fare control.
## History
### Construction and opening
Planning for a subway line in New York City dates to 1864. However, development of what would become the city's first subway line did not start until 1894, when the New York State Legislature passed the Rapid Transit Act. The subway plans were drawn up by a team of engineers led by William Barclay Parsons, the Rapid Transit Commission's chief engineer. It called for a subway line from New York City Hall in lower Manhattan to the Upper West Side, where two branches would lead north into the Bronx. A plan was formally adopted in 1897, and legal challenges were resolved near the end of 1899. The Rapid Transit Construction Company, organized by John B. McDonald and funded by August Belmont Jr., signed the initial Contract 1 with the Rapid Transit Commission in February 1900, in which it would construct the subway and maintain a 50-year operating lease from the opening of the line. In 1901, the firm of Heins & LaFarge was hired to design the underground stations. Belmont incorporated the Interborough Rapid Transit Company (IRT) in April 1902 to operate the subway.
The 145th Street station was constructed as part of the IRT's East Side Branch (now the Lenox Avenue Line). The original plan envisioned a station on the Lenox Avenue Line at 141st Street, just south of the 142nd Street Junction, where a spur of the Lenox Avenue Line diverges to the Bronx via the IRT White Plains Road Line. This was ultimately not built, and instead, the 145th Street station became the last stop on the Lenox Avenue Line before it entered the Lenox Yard, a train maintenance yard immediately to the north. McMullan & McBean began work on the section from 135th Street and Lenox Avenue to Gerard Avenue and 149th Street, including the 145th Street spur, on September 10, 1901.
On November 23, 1904, the East Side Branch opened to 145th Street. Initially, the station was served by East Side local and express trains. Local trains ran from City Hall to Lenox Avenue (145th Street). Express trains had their southern terminus at South Ferry or Atlantic Avenue and had their northern terminus at 145th Street or West Farms (180th Street). South of the station, most northbound trains used a switch to access the western platform, which served both entering and exiting passengers; the train would then reenter service in the southbound direction. Northbound trains heading to Lenox Yard would drop off passengers on the eastern platform, which was an exit-only platform and did not have any ticket booths. Express trains to 145th Street were eliminated in 1906.
### Later years
In 1918, the Broadway–Seventh Avenue Line opened south of Times Square–42nd Street, and the original line was divided into an "H"-shaped system. Local trains were sent to South Ferry. The city government took over the IRT's operations on June 12, 1940. The IRT routes were given numbered designations with the introduction of "R-type" rolling stock. These fleet contained rollsigns with numbered designations for each service. The first such fleet, the R12, was put into service in 1948. The route to Lenox Avenue–145th Street became the 3. The New York City Transit Authority (NYCTA) announced plans in 1956 to add fluorescent lights above the edges of the station's platforms. In 1959, all 3 trains became express.
With the construction of the Harlem–148th Street station inside the Lenox Yard in the 1960s, the 145th Street station was planned to be closed, since the 148th Street station was intended as a direct replacement for the 145th Street station. However, the proposal was shelved due to protests from the local community over the long walk of up to seven blocks to either the new station or 135th Street one stop south, and due to possible congestion issues at 135th Street. The 148th Street station opened on May 13, 1968; despite its name, the new terminal was located at 149th Street. Afterward, all northbound trains continued to 148th Street.
From 1995 to 2008, this station lacked full-time service, as 3 trains did not operate during late nights. Full-time service was restored on July 27, 2008. During late nights, riders could take the M7, the M102, or a shuttle bus to 135th Street. The station was added to the National Register of Historic Places on March 30, 2005, due to its importance as one of the first IRT stations to be built.
Starting on March 2, 1998, the tunnel was reconstructed along with the cracked tunnel floor. This was done to correct a major water problem that had existed for many years due to the presence of the Harlem Creek and other underground streams, which caused extensive flooding, water damage, and seepage problems that occasionally contributed to severe service disruptions. The project cost \$82 million and was finished on October 12, 1998. During the reconstruction, 3 trains were rerouted to the 137th Street–City College station on the IRT Broadway–Seventh Avenue Line. Supplemental shuttle bus service connecting to other lines in the area were provided for much of this time.
Under the 2015–2019 Metropolitan Transportation Authority Capital Plan, the station underwent a complete overhaul as part of the Enhanced Station Initiative and was entirely closed for several months. Updates included cellular service, Wi-Fi, USB charging stations, interactive service advisories and maps. In January 2018, the New York City Transit and Bus Committee recommended that Citnalta-Forte receives the \$125 million contract for the renovations of 167th and 174th–175th Streets on the IND Concourse Line and 145th Street on the IRT Lenox Avenue Line. However, the MTA Board temporarily deferred the vote for these packages after city representatives refused to vote to award the contracts. The contract was put back for a vote in February, where it was ultimately approved. The subway station was closed for renovations from July 23 to November 28, 2018. Due to the closure, 2018 ridership dropped 41.9% compared to the previous year, from 1,093,045 riders in 2017 to 635,413 riders in 2018.
## Station layout
There are two tracks with two short side platforms. The station, served by the 3 train at all times, is between 135th Street to the south and Harlem–148th Street to the north. The station is 348 feet (106 m) long and can fit six-and-a-half 51-foot (16 m) IRT subway cars. Only the first five cars of a train open here because the R62 subway cars used on the 3 service are configured in five-car sets and each must have their doors opened at the same time (selective door operation is used). Before trains on the 3 service were lengthened from nine to ten cars in 2001, only four cars opened their doors at the station. The station is slightly offset under Lenox Avenue, being located closer to the avenue's western curb line.
### Design
The fare control is at platform level, and there is no crossover or crossunder between the platforms. The station agent's booth is located on the southbound platform. The station has mosaic name tablets, some old "145" terra cotta cartouches, and a mosaic replica of a cartouche. There used to be women's and men's restrooms on the southbound platform, as evidenced by stone lintels reading "women" and "men". The central section of the southbound platform widens near the turnstiles.
As with other stations built as part of the original IRT, the station was constructed using a cut-and-cover method. The tunnel is covered by a "U"-shaped trough that contains utility pipes and wires. The bottom of this trough contains a foundation of concrete no less than 4 inches (100 mm) thick. The lowest sections of the trough's outer walls are composed of transverse arches 5 feet (1.5 m) wide. Each platform consists of 3-inch-thick (7.6 cm) concrete slabs, beneath which are located drainage basins. Columns between the tracks, placed atop the transverse arches, support the jack-arched concrete station roofs. Unlike in most original IRT stations, the majority of these columns are not built-up I-beams. Along the northern end of the platforms there are dense clusters of I-beam columns, while the remainder of the platform contains circular, cast-iron Doric-style columns spaced every 15 feet (4.6 m). The ceiling is about 15 feet (4.6 m) above platform level; the section of the ceiling north of the fare control area is smooth, and the section south of fare control is composed of segmental vaults supported by the center columns. There is a 1-inch (25 mm) gap between the trough wall and the platform walls, which are made of 4-inch (100 mm)-thick brick covered over by a tiled finish.
The 2018 artwork at this station is Parade, a ceramic and glass artwork by Derek Fordjour. It consists of images depicting the African-American parade tradition of Harlem.
### Track layout
Like the other stations on the original IRT subway, it was initially built for trains shorter in length than the standard eight to ten cars used by the subway. In the 1950s and 1960s, all of the other IRT stations were either lengthened to 10 cars or closed. The 145th Street station was also lengthened slightly to the north: there are no columns between the tracks there, since the site formerly accommodated a track crossover. When 145th Street was planned to be closed in the 1960s, it was deemed unnecessary to further lengthen the platforms. Because it remained open, 145th Street is the only original IRT station besides the 42nd Street Shuttle stations that still cannot accommodate ten-car trains. Approximately 200 feet (61 m) north of the station is a diamond crossover for the approach to the northern terminal of the 3 train at Harlem–148th Street. Approximately 300 feet (91 m) south of the station is the 142nd Street Junction with the IRT White Plains Road Line. A track crossover formerly existed immediately south of the station, and another switch existed immediately north of the original platforms, within the space occupied by the current platform extension.
### Exits
Street staircases from platform level go up to all four corners of 145th Street and Lenox Avenue. One street staircase goes to each of the corners; the stairs on the west side of Lenox Avenue serve the southbound platform, while the stairs on the east side are served by the northbound platform. There is no entrance from the street to the northbound platform, as both eastern street staircases contain a high exit-only turnstile and emergency gate. Like the other original IRT stations, this station originally was built with entrances resembling elaborate kiosks, which were removed for reducing sight lines for motorists. The street staircases were replaced with relatively simple, modern steel railings like those seen at most New York City Subway stations. | [
"## History",
"### Construction and opening",
"### Later years",
"## Station layout",
"### Design",
"### Track layout",
"### Exits"
] | 2,680 | 7,620 |
5,072,808 | The Statue (Seinfeld) | 1,166,209,662 | null | [
"1991 American television episodes",
"Seinfeld (season 2) episodes"
] | "The Statue" is the sixth episode of the second season of the NBC sitcom Seinfeld, and the show's 11th episode overall. In the episode, protagonist Jerry Seinfeld (Jerry Seinfeld) inherits some of his grandfather's old possessions. One of these is a statue, resembling one that his friend George Costanza (Jason Alexander) broke when he was ten years old. When Jerry sees the statue in the house of Ray (Michael D. Conway), the man who cleaned his apartment, he believes Ray stole the statue. Jerry struggles to get back at Ray, as his friend Elaine Benes (Julia Louis-Dreyfus) is editing a book written by Ray's girlfriend.
The episode was written by Larry Charles and directed by Tom Cherones. The character of Jerry's neighbor Kramer (Michael Richards) is developed in this episode, as he goes undercover as a cop to retrieve the statue. Charles was interested in the development of Kramer, as he felt George and Jerry had their counterparts in co-creators Larry David and Seinfeld. Richards enjoyed how Kramer acted in the episode and encouraged Charles to continue exploiting the character. "The Statue" first aired on NBC on April 11, 1991 in the United States and was watched by over 23 million American homes.
## Plot
Jerry inherits some of his grandfather Irving's old possessions. Among them is a statue that looks just like one George's family had until George broke it. Jerry promises that George can have it, but leaves it in his apartment for a few days. Kramer takes a few of Irving's old clothes, including a hat which he believes makes him look like Joe Friday of Dragnet. Elaine persuades Jerry to have his apartment cleaned by her client Rava's (Nurit Koppel) boyfriend Ray (Michael D. Conway). Jerry is very impressed by the quality of the cleaning; however, when he and Elaine visit Rava, Jerry notices a statue with a vivid similarity to the one he inherited and believes Ray stole it. He calls Kramer to check his apartment but Rava walks back in to the room while he is on the phone. Jerry pretends to be talking to his mother in Florida and swiftly hangs up with no confirmation from Kramer as to whether the statue is present in his apartment or not. Jerry’s suspicion is neither confirmed or denied by the phone call.
While discussing the situation later, Kramer urges Jerry to do something about it but Elaine argues that Rava will no longer let her edit her book if he does. Jerry calls Ray and has lunch with him while George sits in the next booth and eavesdrops on their conversation. Jerry asks him about the statue, but Ray gets offended and leaves when he hears about his suspicions. Elaine and Rava get into an argument about Jerry's accusation, and Elaine throws Rava's book into the garbage over the fight. Without notifying anybody, Kramer dresses up in Irving's old clothes and goes to Ray's apartment, pretending to be a cop, and recovers the statue. Kramer returns the statue to a grateful George. But while George is holding the statue, Kramer gives him a friendly pat on the back and causes him to drop the statue, which breaks when it hits the floor, as the episode abruptly ends.
## Cultural references
- George explains that he broke the original statue while using it as a microphone and singing the song "MacArthur Park" by Jimmy Webb; in early drafts of the script, George broke it while singing Eddie Cochran's "Summertime Blues."
- The episode contains numerous references to the television crime drama Dragnet. This was because writer Larry Charles watched a lot of reruns of the show while writing for Seinfeld. Kramer's manner when he retrieves the statue was inspired by Joe Friday, the central character of Dragnet.
- At the end of the episode Kramer states, "Well, let's put it this way: I didn't take him to People's Court", a reference to the judicial television show.
## Production
The episode was written by Larry Charles and directed by Tom Cherones, who directed all of the episodes in Season 2. "The Statue" was the second episode Charles wrote for the show, though it was the first to be aired. Charles was mostly interested in the development of the Kramer character, as he felt "Jerry and George were so well-defined through Larry [David] and Jerry, that there was less room for me to, sort of, expand on those personas. But Kramer was very unformed at the beginning of the show and it gave me an area of creativity to, sort of, expand upon. So I spent a lot of time with Kramer because he was a character that I could have an impact on in the future of the show." Richards enjoyed how his character evolved and, after the filming of the episode, went to Seinfeld, Charles and David and said "we should keep going that way." He cites this episode, as well as "The Revenge" (in which Kramer puts concrete in a washing machine), as episodes that really defined the character.
The first read-through of the episode was held on January 23, 1991, the same night the second season premiered. "The Statue" was filmed in front of a live audience six days later. A few scenes were changed prior to filming; in an early draft of the script Elaine sat next to George eavesdropping on Jerry and Ray's conversation. She would wear a floppy hat to look inconspicuous and complain about it, stating that she looks like one of the Cowsills, a singing group that was active between the 1960s and 1970s. The same scene initially featured George admitting that he spied on Ray a day earlier, showing Ray pictures of him in a bar. Ray would reply that it was his day off and asks why George is not at work, to which George replies that he should be getting back and leaves. In the original script, Elaine and Rava would argue over who is a better person: Jerry or Ray.
Writer's assistant Karen Wilkie can be seen in the audience during Seinfeld's stand-up comedy act. Nurit Koppel, who portrayed Rava, was known for her appearance in the CBS television movie Sweet Bird of Youth (1989) as well as a guest appearance on the NBC crime drama Hunter. Jane Leeves, who later appeared as Marla the Virgin in season four and season nine, also auditioned for the part; she went on to star in the NBC sitcom Frasier (1993–2004). In the script, Ray Thomas' description was, "although he carries cleaning equipment, he also carries the air of a pretentious mannerly, affected actor." Various actors auditioned for the part, including Hank Azaria, Michael D. Conway and Tony Shalhoub, who had also auditioned for the part of Kramer. Conway was eventually cast for the part. Norman Brenner, who worked as Richards' stand-in on the show for all its nine seasons, appears as an extra; he appears in the background when Jerry and Ray talk at Monk's Cafe.
## Reception
First broadcast in the United States on NBC on April 11, 1991, "The Statue" gained a Nielsen rating of 16.1 and an audience share of 26. This means that 16.1% of American households watched the episode, and that 26% of all televisions in use at the time were tuned into it. Nielsen estimated that over 23 million people watched the episode's initial broadcast, making it the tenth most-watched program of the week it was broadcast in.
The episode received mixed reactions from critics. Writing for Entertainment Weekly, critics Mary Kaye Schilling and Mike Flaherty stated "Even Seinfeld's bit players must have some grounding in reality — you need to love to hate them. Ultimately, there's no redeeming comic payoff to Rava's and Ray's weirdness." Flaherty and Schilling graded the episode with a C−. Colin Jacobson of the DVD Movie Guide called the episode's storyline "fairly pedestrian," but felt the performances of Conway and Koppel saved the episode. | [
"## Plot",
"## Cultural references",
"## Production",
"## Reception"
] | 1,663 | 15,407 |
3,182,890 | NSB El 18 | 1,171,918,123 | Norwegian electric locomotive class | [
"15 kV AC locomotives",
"Adtranz locomotives",
"Bo-Bo locomotives",
"Electric locomotives of Norway",
"Norwegian State Railways locomotives",
"Passenger locomotives",
"Pininfarina",
"Railway locomotives introduced in 1996",
"SLM locomotives",
"Standard gauge locomotives of Norway"
] | NSB El 18 is a class of 22 electric locomotives built by Adtranz and Swiss Locomotive & Machine Works (SLM) for the Norwegian State Railways (NSB). The class is a modification of the Swiss Federal Railways Re 460 locomotive and built at Adtranz Strømmen in 1996 and 1997. The class remains the only mainline electric locomotive used by NSB, and is predominantly used on some intercity services and all night trains on the Bergen Line, Dovre Line and Sørland Line, as well as some regional trains.
The locomotives are 18.5 metres (61 ft) long and weigh 83 tonnes (82 long tons; 91 short tons). They have three-phase asynchronous motors with a maximum power output of 5,880 kilowatts (7,890 hp), giving a tractive effort of 275 kilonewtons (62,000 lb<sub>f</sub>) and a maximum speed of 200 km/h (120 mph). They have a Bo'Bo' wheel arrangement and regenerative brakes. The exterior was designed by Pininfarina and the cabs have pressurization. The units are numbered 2241 through 2262.
## History
During the early 1990s, NSB was in need of new electric haulage for their passenger trains, as both classes El 11 and El 13 were in need of replacement. El 17, the latest purchase, had proved unreliable, and NSB wanted to remove them from mainline service. In 1993, Re 460 and EuroSprinter locomotives were tested in Norway, with the Re 460 being tested from 28 August through 8 October. NSB was satisfied with both units, and stated that it would be possible to increase the train weight on the intercity services from 700 to 800 t (690 to 790 long tons; 770 to 880 short tons). During the first half of 1994, NSB leased two Re 460s to have sufficient locomotives for operation during the 1994 Winter Olympics.
When the deadline for bids for the units was reached on 8 May 1994, five bids had been received. GEC Alsthom offered a modification of the French SNCF Class BB 36000 and AEG offered a variation of the German prototype 12X. Siemens offered two models, the EuroSprinter and an adaptation of the Austrian ÖBB Class 1014. Siemens' proposal for the former was branded Dovresprinter and was a cooperation between Kværner and NSB's workshop at Sundland in Drammen. Siemens would deliver the overall design and electrical components, Kværner would build the mechanical components and the assembly would occur in Drammen. The final offer was from Asea Brown Boveri (ABB), and Swiss Locomotive & Machine Works (which by delivery would be sold to become Adtranz) for "Lok 2000", a modification of the Swiss Re 460.
Prior to the final negotiations, union representatives for the train drivers stated that Lok 2000 was their preference, and that NSB could expect a dispute if they chose a different model. The representatives stated that they were "tired of experimenting with Norwegian solutions". Another important aspect for NSB was that as much of the production as possible take place in Norway. The final negotiations were made with ABB/SLM and AEG and on 2 September, and NSB approved the agreement with ABB/SLM for a purchase of 22 units. The contract was signed on 27 September, and the 22 units cost approximately 700 million Norwegian krone.
NSB considered ordering the units with support for both the Norwegian and Swedish 15 kV 16+2⁄3 Hz AC system, and the Danish 25 kV 50 Hz AC system. This would have allowed the trains to operate directly to Denmark via the Øresund Bridge, which was then under construction. The dual-voltage system was dropped during the procurement process, but NSB stated that if they needed such units, compatibility could be provided in future orders of the class. The units were built by Adtranz Strømmen at Strømmen outside Oslo, and delivered between 3 September 1996 and 12 June 1997. The units are numbered 2241 through 2262. When entering service, the locomotives replaced NSB's oldest units, El 13, which were then retired. This reduced NSB's average locomotive age from 31 to 18+1⁄2 years at the time of the end of the delivery.
During 1997, there were five incidents where NSB's Nordic Mobile Telephone equipment interfered with the locomotive's electronics, causing the emergency brakes to activate. This caused a temporary halt until the motorman had unlocked the brakes. The problem was fixed by moving NSB's mobile transmitters. The units were taken into use on the Bergen Line from 5 January 1997. Later they entered into use on the Dovre and Sørland Lines, and then on regional trains around Oslo, such as the Vestfold Line. In August 1998, NSB stated that El 18 used more power than some of the substation transformers along the line could handle, particularly along the Vestfold Line. Part of the problem was caused by a mechanism in the locomotives whereby the motor was turned off if the wheels spin. The result was that the full power output of the El 18 along parts of the railway network could not be utilized.
Three have been operated by Go-Ahead Norge since December 2019.
## Specifications
The locomotives have a maximum power output of 5,880 kW (7,890 hp), and are capable of a continual power output of 5,400 kW (7,200 hp). This gives a maximum speed of 200 km/h (120 mph) and a tractive effort of 275 kN (62,000 lb<sub>f</sub>). The locomotive is fed power from the pantograph. This is then converted to direct current before being converted to three-phase electricity through one of three gate turn-off thyristors. Each bogie has three rectifiers, each connected to a transformer that is again connected to two inverters. The motors are three-phase asynchronous motors located in the bogie frame and equipped with regenerative brakes. There is also an auxiliary three-phase power supply which powers the compressor, pumps, ventilators and other auxiliary equipment, operated by four separate inverters. The controller is a 16-bit microprocessor that communicates using optical fibre cables. The rectifier, auxiliary rectifiers, controllers and the error and diagnostic system is of the same type as used on the NSB Class 70 multiple units.
Each unit weighs 83 t (82 long tons; 91 short tons). The body is 18,500 millimeters (60 ft 8 in) long, 3,000 mm (9 ft 10 in) wide and 4,322 mm (14 ft 2.2 in) tall. The center distance between the bogies is 11,000 mm (36 ft 1 in) and the center wheel distance in the bogies is 2,800 mm (9 ft 2 in). The wheel diameter is 1,125 mm (3 ft 8.3 in)—this is 25 mm (0.98 in) larger than the Re 460. The El 18 has a Knorr HSM mechanical braking system, but unlike the Swiss versions does not have a rail brake. The design of the locomotive was by the Italian company Pininfarina. The machine room is designed with a center aisle, the driver's cabs have pressurization applied to avoid air pressure dropping when running through tunnels, and the cabs are equipped with air conditioning.
El 18 is a modification of the Swiss Re 460. The class was originally built in 119 units from 1992 to 1995 for the Swiss State Railways, where it was given the brand Lok 2000. It was part of a project to create a series of new intercity locomotives and cars. Bern–Lötschberg–Simplon-Bahn received eight units in 1994 (as Re 465), the Finnish State Railways received 46 units between the years 1995-2003 (as Sr2) and the Kowloon–Canton Railway Corporation received 2 units in 1997. The units are designed to haul heavy passenger trains along existing curved railways at high speeds. It is designed as a universal locomotive, so it is also suitable for freight trains. | [
"## History",
"## Specifications"
] | 1,813 | 20,556 |
1,897,988 | M-115 (Michigan highway) | 1,167,311,264 | State highway in Michigan, United States | [
"State highways in Michigan",
"Transportation in Benzie County, Michigan",
"Transportation in Clare County, Michigan",
"Transportation in Manistee County, Michigan",
"Transportation in Osceola County, Michigan",
"Transportation in Wexford County, Michigan"
] | M-115 is a state trunkline highway in the northwestern part of the Lower Peninsula of the US state of Michigan. The highway takes a generally southeast-to-northwest direction between Frankfort on Lake Michigan and Clare in the central part of the state. The northwestern end is at M-22 next to Betsie Lake; the southeastern end in downtown Clare is at an intersection with Business US Highway 127 (Bus. US 127) and Bus. US 10. In between, the trunkline runs about 96+1⁄2 miles (155.3 km) through woodlands, including areas that are a part of either the Manistee National Forest or the Pere Marquette State Forest. The highway also passes agricultural areas, several lakes in the region and a state park near Cadillac.
M-115 was first designated in the 1920s on the northwestern end near Frankfort. Additional, disconnected sections were designed as part of the trunkline in the 1930s near Cadillac, Farwell and Mesick. All but one of these gaps (Cadillac–Mesick) was eliminated by the end of that decade. The remaining segment was built in the 1950s to unite M-115 into a single highway. The last change came in 1989 when the highway was extended into Clare to its current southern terminus.
## Route description
M-115 starts in downtown Clare at a four-way intersection with the two business loops, Bus. US 127 and Bus. US 10, in town. From this junction, M-115 runs west following the former routing of US 10 along Ludington Drive to Farwell. In the middle of town, M-115 turns northwesterly to meet the end of the US 10 freeway near Surrey Lake. The highway continues northwest through forest lands and lake country. The trunkline passes into northern Osceola County near its crossing of the Muskegon River. There are intersections with both M-66 and M-61 south of Marion near rural farms. The roadway subsequently crosses into southern Wexford County. Near Stone Lake south of Cadillac, M-115 meets US 131 and M-55. M-55 leaves the US 131 freeway and joins M-115, and the two run concurrently along the western end of Lake Cadillac. They separate near Lake Mitchell, and M-115 turns northwesterly between the two lakes passing Mitchell State Park and the eastern shore of the latter lake.
Past the Cadillac area, M-115 runs through the northeastern corner of the Manistee National Forest. The highway continues through woodlands, passing several small lakes in the area as it approaches the community of Mesick. There it turns due west and joins M-37 through town. After M-37 separates to the south, M-115 crosses the Manistee River and continues its northwestern course. The highway crosses the northeastern corner of Manistee County and runs through the community of Copemish on the way to Benzonia. The landscape here turns more agricultural as the highway skirts southwest of Thompsonville crossing the Betsie River.
After the river crossing, the highway enters Benzie County and runs through the Pere Marquette State Forest. South of Benzonia, M-115 runs concurrently with US 31 into town. The highways separate in the center of town where M-115 turns westward to run along the south shore of Crystal Lake past Frankfort Dow Memorial Field, the local airport near Frankfort. M-115 follows Forest Avenue, and the highway designation ends at the intersection in town with M-22 near Betsie Lake.
The Michigan Department of Transportation (MDOT) maintains M-115 like all other trunkline highways in the state under its jurisdiction. As a part of these responsibilities, the department tracks traffic volumes along its roadways until a metric called average annual daily traffic (AADT). This number is a calculation of the traffic level along a segment of roadway for any average day of the year. In 2009, MDOT determined that the highest traffic levels along M-115 were the 12,079 vehicles daily along the section of highway near lakes Mitchell and Cadillac. The lowest AADT was the 2,236 vehicles near Copemish. The trunkline between the US 10 and M-37 junctions has been listed on the National Highway System. a network of roads important to the country's defense, economy and mobility.
## History
In 1929, the first stretch of M-115 was designated from Frankfort to Benzonia. Beginning in the mid-1930s, construction of M-115 began from central to northwestern Lower Michigan. In 1936, an earthen highway was opened between the south side of Cadillac to M-66, with additional sections west of Mesick and northwest of US 10. By the end of the year, the state was paving the earthen section, completed a gravel highway near Mesick and opened an earthen section in Clare County. The section from Copemish to northwest of Mesick was opened as an earthen highway the next year. Construction started in early 1938 to connect Benzonia to Copemish, and before the year was out, the Michigan State Highway Department started work to fill in the gap between M-66 and the highway north of US 10 in Clare County. These two sections were completed as earth-graded highway in 1939. Both discontinuous sections were fully paved by 1945.
In 1953, a county road was built along the path of the future M-115 between Mesick and Cadillac. This road was designated as a state highway by 1957, with a connection along Boon Road north of Cadillac and a concurrency along US 131 to close the gap in 1957. The Boon Road segment was removed the next year when the routing near Lake Mitchell opened. The southern end of M-115 was truncated slightly when the US 10 freeway bypass of Clare was opened in 1975. M-115 has since been rerouted in 1989 along the two-lane Old US 10 from its original southeastern ending point near the US 10 overpass through Farwell to Clare. A roundabout was built for the intersection with northbound M-37 east of Mesick and was opened in September 2013.
## Major intersections
## See also | [
"## Route description",
"## History",
"## Major intersections",
"## See also"
] | 1,306 | 4,792 |
822,161 | German submarine U-28 (1936) | 1,172,026,406 | German World War II submarine | [
"1936 ships",
"German Type VIIA submarines",
"Maritime incidents in March 1944",
"Military units and formations of Nazi Germany in the Spanish Civil War",
"Ships built in Bremen (state)",
"U-boat accidents",
"U-boats commissioned in 1936",
"U-boats sunk in 1944",
"U-boats sunk in collisions",
"World War II submarines of Germany"
] | German submarine U-28 was a Type VIIA U-boat of Nazi Germany's Kriegsmarine during World War II.
Her keel was laid down on 2 December 1935, by DeSchiMAG AG Weser of Bremen. She was launched on 14 July 1936, and commissioned into Kriegsmarine on 12 September 1936, with Kapitänleutnant Wilhelm Ambrosius in command. Ambrosius was succeeded by nine other commanding officers over the next eight years.
U-28 conducted seven war patrols between 19 August 1939 and 15 November 1940, all under the command of Kapitänleutnant Günter Kuhnke, sinking 13 ships totaling 56,272 gross register tons (GRT) and damaging two others totaling 10,067 GRT.
After her third patrol, U-28 became a training vessel and was used to bring new U-boat crews up to standard. She was later sunk in an accident on 17 March 1944 and stricken on 4 August 1944.
## Construction and design
### Construction
U-28 was ordered by the Kriegsmarine on 1 April 1935 as part of the German Plan Z and in violation of the Treaty of Versailles. Her keel was laid down in the AG Weser shipyard in Bremen as yard number 909 on 2 December 1935. After about ten months of construction, she was launched on 14 July 1936 and commissioned into the Kriegsmarine as the third Type VIIA submarine on 12 September 1936 under the command of Kapitänleutnant Wilhelm Ambrosius.
### Design
Like all Type VIIA submarines, U-28 displaced 626 tonnes (616 long tons) while surfaced and 745 t (733 long tons) when submerged. She was 64.51 m (211 ft 8 in) in overall length and had a 45.50 m (149 ft 3 in) pressure hull. U-28's propulsion consisted of two MAN 6-cylinder 4-stroke M 6 V 40/46 diesel engines that totaled 2,100–2,310 PS (1,540–1,700 kW; 2,070–2,280 bhp). Her maximum rpm was between 470 and 485. The submarine was also equipped with two Brown, Boveri & Cie GG UB 720/8 electric motors that totaled 750 PS (550 kW; 740 shp). Their maximum rpm was 322. These power plants gave U-28 a maximum speed of 17 knots (31 km/h; 20 mph) while surfaced and 8 knots (15 km/h; 9.2 mph) when submerged. She had a range of 6,200 nmi (11,500 km; 7,100 mi) while traveling at 10 knots (19 km/h; 12 mph) on the surface and 73–94 nmi (135–174 km; 84–108 mi) at 4 knots (7.4 km/h; 4.6 mph) when submerged.
The U-boat's test depth was 220 m (720 ft) but she could go as deep as 230–250 m (750–820 ft) without having her hull crushed. U-28's armament consisted of five 53.3 cm (21 in) torpedo tubes, (four located in the bow and one in the stern). She could have up to eleven torpedoes on board or 22 TMA mines or 33 TMB mines. U-28 was also equipped with a C35 88 mm gun/L45 deck gun with 220 rounds. Her anti-aircraft defenses consisted of one 2 cm (0.79 in) anti-aircraft gun.
## Service history
### First patrol
U-28's first war patrol took place from 19 August to 29 September 1939. On 14 September, while sailing around the mouth of St George's Channel, U-28 sank a 5,000 GRT freighter, which was her only success of the patrol.
### Second patrol
U-28's second war patrol took place from 8 November to 12 December 1939. For this effort she was instructed to lay a minefield near the port city of Swansea. En route to Bristol, U-28 sank two ships; the 5,000 GRT Dutch tanker MV Sliedrecht and the 5,100 GRT British freighter SS Royston Grange. U-28 then laid her minefield and returned to port in Germany. While the minefield was not an immediate success, it sank the 9,600 GRT British freighter SS Protesilaus 60 days after it was laid.
### Third patrol
U-28's third sortie took place from 18 February to 25 March 1940. She was instructed to lay mines off the British Naval Base at Portsmouth. After U-28 laid the minefield, she went on to sink two ships for 11,200 GRT.
### Fourth patrol
U-28's fourth war patrol took place from 8 June to 7 July 1940. She was sent to the Western Approaches and turned in an average performance of sinking three ships totalling 10,300 GRT. The Irish government sought an explanation from Germany for the sinking of the neutral Greek ship Adamandios Georgandis: "the entire cargo of which comprised grain for exclusive consumption in Éire" She was sailing from Rosario (in Argentina) to Cork with a cargo of wheat when she was torpedoed and sunk south-west of Ireland at .
### Fifth patrol
U-28's fifth war patrol took place from 11 August to 17 September 1940 and was one of Kuhnke's most productive. In August, she sank two ships for 5,500 GRT. On 10 September, U-28 found and tracked Convoy OA 210. In the darkness of early morning on 11 September, U-28 attacked the convoy and claimed two large freighters (13,000 GRT each) sunk and caused damage to a 10,000 GRT tanker, bringing Kuhnke's total for the patrol to five ships for 30,000 GRT. However, during the postwar analysis, he was only credited with sinking a 2,000 GRT Dutch freighter and damaging a 4,700 GRT British freighter; which, combined with his earlier sinkings, brought his total to four ships for 9,945 GRT. On his return to Lorient Kuhnke was awarded the Knight's Cross for his work.
### Sixth patrol
U-28's sixth and final war patrol took her from Lorient back to Germany; because of the heavy seas and foul weather, U-28 sank only half a ship for 2,694 GRT. (U-28 and shared credit for the sinking of the SS Matina). On 15 November 1940, she returned to Germany and was turned over to the training command. Günter Kuhnke proceeded to command .
## Fate
U-28 sank by accident on 17 March 1944, at the U-boat pier in Neustadt. During a training exercise, the boat had passed under a dummy freighter used for target practice. The commander-in-training failed to note the position of the stationary freighter, and the U-boat's conning tower was ripped off. Water flooded the control room, but the other compartments remained intact. The crew escaped by slowly equalizing the water pressure in the boat and swimming to the surface. The boat was raised in March 1944, but was stricken on 4 August. The submarine's crew suffered no casualties during her career.
## Wolfpacks
U-28 took part in one wolfpack, namely:
- Prien (12 – 17 June 1940)
## Summary of raiding history | [
"## Construction and design",
"### Construction",
"### Design",
"## Service history",
"### First patrol",
"### Second patrol",
"### Third patrol",
"### Fourth patrol",
"### Fifth patrol",
"### Sixth patrol",
"## Fate",
"## Wolfpacks",
"## Summary of raiding history"
] | 1,668 | 12,146 |
41,970,957 | Uzbekistan at the 2014 Winter Paralympics | 1,001,501,810 | null | [
"2014 in Uzbekistani sport",
"Nations at the 2014 Winter Paralympics",
"Uzbekistan at the Paralympics"
] | Uzbekistan sent a delegation to compete at the 2014 Winter Paralympics in Sochi, Russia, held between 7–16 March 2014. This marked the first time the nation competed at the Winter Paralympics. The delegation consisted of two athletes, Yevgeniy Slepov and Ramil Gayazov, both were competitors in Alpine skiing. Gayazov failed to post an event finish, while Slepov finished 32nd in the snowboard cross.
## Background
Uzbekistan has competed independently at every Summer Olympics since the 1996 Summer Olympics in Athens, and in every Winter Olympic Games since the 1994 Lillehammer Games, as of the conclusion of the 2018 Winter Olympics. Uzbekistan began participating in the Summer Paralympics in the 2004 edition, but Sochi marked their first delegation sent to a Winter Paralympics. Ramil Gayazov was chosen as the Uzbekistani flag-bearer for the parade of nations during the opening ceremony, and for the closing ceremony.
## Disability classification
Every participant at the Paralympics has their disability grouped into one of five disability categories; amputation, the condition may be congenital or sustained through injury or illness; cerebral palsy; wheelchair athletes, there is often overlap between this and other categories; visual impairment, including blindness; Les autres, any physical disability that does not fall strictly under one of the other categories, for example dwarfism or multiple sclerosis. Each Paralympic sport then has its own classifications, dependent upon the specific physical demands of competition. Events are given a code, made of numbers and letters, describing the type of event and classification of the athletes competing. Events with "B" in the code are for athletes with visual impairment, codes LW1 to LW9 are for athletes who stand to compete and LW10 to LW12 are for athletes who compete sitting down. Alpine skiing events grouped athletes into separate competitions for sitting, standing and visually impaired athletes.
## Alpine skiing
Ramil Gayazov was 28 at the time of these Games, who competed in the standing category of events. On 13 March 2014, he was disqualified during the first run of the slalom for missing a gate. Two days later, despite being entered into the giant slalom, he failed to start the race for unknown reasons.
Men
### Snowboarding
For the 2014 Winter Paralympics, snowboard cross was considered a discipline of Alpine skiing, rather than a separate sport. Snowboarding was offered only for athletes who competed in a standing position. The men's snowboard cross event was held on 14 March 2014. Yevgeniy Slepov posted his two best times on runs 1 and 3, and only the two best times of each athlete counted towards the final result. Slepov finished with a combined time of three minutes and two seconds, over a minute off the winning time of one minute and forty-three seconds. He finished in 32nd place out of 33 competitors.
Men
## See also
- Uzbekistan at the Paralympics
- Uzbekistan at the 2014 Winter Olympics | [
"## Background",
"## Disability classification",
"## Alpine skiing",
"### Snowboarding",
"## See also"
] | 654 | 3,521 |
24,472,823 | Atheniella adonis | 1,155,736,601 | Species of fungus | [
"Fungi described in 1792",
"Fungi of Asia",
"Fungi of Europe",
"Fungi of North America",
"Taxa named by Jean Baptiste François Pierre Bulliard"
] | Atheniella adonis, which has the recommended name of scarlet bonnet in the UK, is a species of agaric in the family Cyphellaceae. Found in Asia, Europe, and North America, it produces small orangish to reddish mushrooms with caps up to 1.2 cm (0.5 in) in diameter and thin pinkish-white stems reaching 4 cm (1.6 in) long. The fungus typically grows in conifer woods and peat bogs, suggesting a preference for acidic environments. The appearance of several atypical fruitings on deciduous wood in the Netherlands in the late 1970s was attributed to increases in atmospheric pollution that raised the acidity of the wood substrate.
## Taxonomy
The species was first named Agaricus adonis in 1792 by Jean Baptiste François Pierre Bulliard, and placed in Mycena by Samuel Frederick Gray in 1821. Rolf Singer successively moved it to Hemimycena (1943), then Marasmiellus (1951). Singer later changed his mind about these placements, and his 1986 Agaricales in Modern Taxonomy, he considered the species a Mycena.
Recent molecular research, based on cladistic analysis of DNA sequences, has shown that the species is not closely related to Mycena and belongs in the Cyphellaceae in the genus Atheniella.
### Etymology
The species epithet refers to the handsome youth Adonis in Greek mythology. Samuel Frederick Gray called it the "Adonis high-stool" in his 1821 Natural Arrangement of British Plants, while Mordecai Cubitt Cooke named it the "delicate Mycena".
## Description
The cap initially has a sharply conic shape, but expands to a narrow bell-shape or a broad cone in maturity, typically reaching 0.5 to 1.2 cm (0.2 to 0.5 in) in diameter. The cap margin, which is initially pressed against the stem, is opaque or nearly so at first. It is scarlet red when fresh and moist, becoming orange or yellowish orange before losing moisture. The mushroom is hygrophanous, and fades to an orange buff when dry. The flesh is thin, the same color as the cap, fragile, and without any distinctive taste or odor. The gills are ascending-adnate (the gills attach at much less than a right angle, appearing to curve upward toward stem) or attached by a tooth, subdistant to close, with 14–16 gills reaching the stem. Additionally, there are two or three tiers of lamellulae—short gills that do not extend fully from the cap edge to the stem. The gills are narrow, and yellowish or with a reddish tinge at first; the margins are paler and the same color as the faces. The stem is 2–4 cm (0.8–1.6 in) long and 1–2 mm (0.0–0.1 in) thick, and roughly equal in width throughout. It is tubular, fragile, initially pruinose (covered with a fine powder), polished and smooth with age, pale yellow, becoming whitish, with the base often dirty yellow or brownish.
### Microscopic characteristics
The spores are narrowly ellipsoid, inamyloid, and measure 6–7 by 3–3.5 μm. The basidia (spore-bearing cells) are four-spored and measure 20–22 by 6–7 μm. The cheilocystidia and pleurocystidia (cystidia found on the edges and faces, respectively, of the gills) are abundant and similar in shape and markings, 40–58 by 10–15 μm, tapering somewhat on either end and usually with a long needle-shaped neck (which is branched in some). The cystidia are generally smooth, but when dried material is mounted in potassium hydroxide for observation under light microscopy, an amorphous substance apparently holds spores and debris around the neck or apex, making them appear encrusted. The flesh of the gill is very faintly vinaceous-brown when stained in iodine. The cap flesh has a thin, poorly differentiated pellicle with a region of slightly enlarged cells beneath it; the remainder is filamentous, and the filamentous portion stains vinaceous-brown in iodine.
### Similar species
Mycena acicula is typically smaller with a deep orange-red cap rather than the typical bright salmon-pink of A. adonis. Since the colors and sizes of M. acicula and A. adonis are similar, a microscope is needed to reliably distinguish between them, with spore size and shape being different. Mycena strobilinoides can be distinguished by its orange cap and amyloid spores. Atheniella aurantiidisca can be distinguished by its lack of scarlet to pinkish tones in the cap and lack of gelatinized cortical hyphae. Mycena oregonensis is differentiated by its orange to yellow cap and lack of scarlet to pinkish tones. Mycena roseipallens has a smaller fruit body, wider spores, a less intensely colored and less conical cap, and grows on the decaying wood of elm, ash, and alder.
## Ecology, habitat and distribution
The fruit bodies of A. adonis grow solitarily or in groups in conifer forests and heaths, and appear in the spring and autumn. The fruit bodies grow in groups or scattered on needle beds under spruce and hemlock in wet coastal conifer forests, or in the higher mountains, where it is not uncommon in the spring and autumn months. In one instance, fruit bodies were found growing on the deciduous trees Spanish Maple (Acer granatense) and willow (Salix alba) near Amsterdam. It was hypothesized that the bark of these trees had become more acid in recent years because of increasing atmospheric pollution (specifically, increases in the levels of sulfuric and nitric acid from industrial smoke), providing a more suitable substrate for the fungus.
The fungus is found in Europe and in western North America, where Mycena specialist Alexander H. Smith found the species in Washington, Oregon, and California. In 2007, it was reported from the valley of the Ussuri River in the northeast of China. | [
"## Taxonomy",
"### Etymology",
"## Description",
"### Microscopic characteristics",
"### Similar species",
"## Ecology, habitat and distribution"
] | 1,339 | 3,912 |
69,256,086 | Treacherous (Taylor Swift song) | 1,172,445,519 | 2012 song by Taylor Swift | [
"2012 songs",
"Song recordings produced by Dan Wilson (musician)",
"Songs written by Dan Wilson (musician)",
"Songs written by Taylor Swift",
"Taylor Swift songs"
] | "Treacherous" is a song by American singer-songwriter Taylor Swift, taken from her fourth studio album, Red (2012). Written by Swift and Dan Wilson, who also produced the track, "Treacherous" is a slow-burning ballad that builds up into a finale. Its lyrics are about a narrator's attempt to protect a fragile and dangerous relationship. A demo of the song was included in the track-list of Red's deluxe edition.
"Treacherous" peaked at number two on the United States' Billboard Bubbling Under Hot 100 and number 65 on the Canadian Hot 100. The track has been performed on three of Swift's concert tours, including the Red Tour (2013–2014), where it was included on the regular set list. Critics who picked the song an album highlight praised Swift's songwriting and the production. Retrospectively, they have regarded it as one of Swift's better songs.
A re-recorded version, titled "Treacherous (Taylor's Version)", was released as part of Swift's second re-recorded album, Red (Taylor's Version) (2021). It peaked at number 42 on the Billboard Global 200 and entered on national charts in Australia, Canada, Singapore, and the US.
## Background
American singer-songwriter Taylor Swift released her third studio album, Speak Now, in October 2010. She wrote the album and co-produced it with long-time collaborator Nathan Chapman; Speak Now expands the country pop production of its 2008 predecessor Fearless. On the album's follow-up, titled Red, Swift wanted to experiment with other musical styles. She therefore approached producers outside of her career base in Nashville, Tennessee. One of them was American musician Dan Wilson, whose work with Minneapolis-based rock band Semisonic inspired Swift. In an interview with USA Today, she said that she chose Wilson because she liked his style and wanted to learn from him. Their sessions resulted in two songs, which were "Come Back... Be Here" and "Treacherous".
## Production and release
"Treacherous" has a duration of four minutes and two seconds. In an interview with Taste of Country, Swift stated that the track was inspired by a conflicted feeling of being at risk every time you fall in love. It was written alongside a number of other songs due to bursts of productivity; Swift and Wilson wrote the track in ten minutes in his studio, with Swift in "full of excitement" according to Wilson. He was impressed with Swift for the clarity in her songwriting and noted that she had "a very high level of positivity", which he deemed rare.
Engineers Andy Thompson, Eric Robinson, and John Rausch recorded the song at Ballroom West in Los Angeles, Instrument Landing in Minneapolis, and Marlay Studio in North Hollywood, Los Angeles. Manny Marroquin mixed it with assistance from Chris Galland and Delbert Bowers at Larrobee Studios in Universal City, California, and Hank Williams mastered it at MasterMix Studio in Nashville. "Treacherous" was released as the third track on Red on October 22, 2012, by Big Machine Records. A demo of the song was also released as a deluxe-edition bonus track. To promote the album, Swift embarked on the Red Tour (2013–2014), in which "Treacherous" was included on the set list. She performed the track as a "surprise song" on select dates of the Reputation Stadium Tour (Philadelphia, July 2018) and the Eras Tour (Tampa, April 2023).
After a dispute with Big Machine over the sale of the masters of Swift's first six studio albums, she re-recorded Red as Red (Taylor's Version). Released by Republic Records as Swift's second re-recorded album on November 12, 2021, the re-recorded version of "Treacherous" is titled "Treacherous (Taylor's Version)". It has the same length as the original and Wilson returned as the producer. The song was recorded by Thompson, Aaron Sterling, Sara Mulford, and John Mark Nelson in Ballroom West in Los Angeles and Instrument Landing in Minneapolis. Christopher Rowe recorded Swift's vocals at Kitty Committee Studio in Belfast, Nothern Ireland. The track was mixed by Serban Ghenea with mix engineering from Bryce Bordone at MixStar Studios in Virginia Beach, Virginia, and was mastered by Randy Merrill at Sterling Sound in Edgewater, New Jersey.
## Music and lyrics
"Treacherous" is a slow-burning ballad. It starts with mandolin, slow guitar strums, and percussion, and builds up into a finale. As the acoustic and electric guitar intertwine, background vocals harmonize at each iteration of the refrain. In a Pitchfork review, Ivy Nelson wrote that whereas the beginning is "relatively motionless, frozen in time by all the tension in Swift's voice", as the song progresses, "the guitars and drums melt into dark, wet echoes like pelting raindrops". Mary Kate Carr from The A.V. Club said that "Treacherous" builds to a "complementary crescendo that could sweep anyone away". Sam Lansky from Idolator likened the production to that of U2's song "With or Without You" (1987), specifically due to the "aching guitars". On the re-recorded track, it is musically identical to the original recording like the rest of Red (Taylor's Version), but with a more mature voice from Swift.
The lyrics are about a narrator's attempt to protect a fragile and dangerous relationship that has broken. On the song's meaning, Swift said, "[...] I tend to feel like when you're looking back on the things that have hurt you in life, I look back on them and think if it made you feel something, it was worth it." Some critics noted the lyrics, "I’ll do anything you say / If you say it with your hands", as the first time Swift explicitly incorporated sexuality in her lyrics. Chris Willman from The Hollywood Reporter compared the song's lyrical narrative to that of Sheryl Crow's "My Favorite Mistake" (1998) and opined that the track's sensuality is also due to Swift's "nearly whispered vocals" that "neatly put across the tentativeness of her sensuality in falling for a bad boy".
## Critical reception
In reviews of Red, a number of critics picked "Treacherous" as an album highlight. Willman said that it contains some of the most poetic lyrics on the album, and Lansky considered the musical direction of the song an example of Swift's "diversions into sonic experimentation that wouldn't fare as well on the radio, and they feel even more exciting". American Songwriter's Jewly Hight selected it as one of the tracks that showcase Swift's talents at capturing emotions in tangible detail. Nelson labeled the song a "masterclass in dynamics from arrangement to lyric", and highlighted how the production complements the lyrical sentiments. Jonathan Keefe of Slant Magazine was impressed by Swift's songwriting for "expressing genuine insights into complex relationship dynamics". Mesfin Fekadu from the Associated Press considered the song "a good one" from an album that he deemed mediocre. In a less positive review, Billboard said that the instrumental build-up "steers away from the hushed, confessional beauty" of the initial verses.
In retrospective reviews, critics have considered "Treacherous" one of Swift's better songs. Rob Sheffield of Rolling Stone said that she "braves the ski slopes of love, with a seething acoustic guitar that finally detonates halfway though". Musicologist James E. Perone deemed its musical approach an evidence of "increased maturity in Swift's work as a songwriter and performer". Billboard's Hannah Dailey said the song has "some of her most gorgeous poetry" and thought it was "overlooked by the general masses". Spuntikmusic was amazed by Swift for her reflections of love and life on Red, and cited "Treacherous" as an example because of how she "vividly captured forbidden lust and temptation". Time ranked the song as the album's second-best track—Samantha Cooney considered the song "criminally underrated", and Annabel Gutterman said it was a "gorgeous song" and a "beautiful ballad about risking your heart when you know things might end badly". Alex Hopper from American Songwriter deemed "Treacherous" a highpoint from Red, and Michael Savio of PopMatters selected it as one of Swift's "finest, most pensive" songs, among other album tracks. In a review of "Treacherous (Taylor's Version)", Mary Kate Carr said that the song introduced a "haunting, newly mature singer-songwriter vibe" to Swift's artistry.
## Chart performance
When Red was released in 2012, "Treacherous" debuted on both the United States' Billboard Bubbling Under Hot 100 and Hot Country Songs, with peaks of number two and number 26 respectively. The song reached number 65 on the Canadian Hot 100.
Upon the release of Red (Taylor's Version) in 2021, "Treacherous (Taylor's Version)" peaked on national charts in Singapore (30), Australia (38), and Canada (41). In the US, the song reached number 54 on the Billboard Hot 100 and number 15 on Hot Country Songs. On other charts, it peaked at number 67 on the United Kingdom's Audio Streaming Chart and number 42 on the Billboard Global 200.
## Personnel
"Treacherous"
- Taylor Swift – lead vocals, songwriting, acoustic guitar, background vocals
- Dan Wilson – songwriting, production, background vocals, electric guitar, bass, piano
- Andy Thompson – electric piano, synth strings, guitar, recording
- Aaron Sterling – drums
- Manny Marroquin – mixing
- Chris Galland – mixing assistance
- Delbert Bowers – mixing assistance
- Hank Williams – mastering
- John Rausch – recording
- Eric Robinson – recording
"Treacherous (Taylor's Version)"
- Taylor Swift – lead vocals, background vocals, songwriting
- Dan Wilson – background vocals, songwriting, production, guitars, bass
- Andy Thompson – keyboards, electric guitar, recording
- Aaron Sterling – programming, drums, percussion, recording
- Sara Mulford – piano, synth, recording
- Serban Ghenea – mixing
- Bryce Bordone – mix engineering
- Randy Merrill – mastering
- Christopher Rowe – vocal recording
- John Mark Nelson – recording
## Charts
### "Treacherous"
### "Treacherous (Taylor's Version)" | [
"## Background",
"## Production and release",
"## Music and lyrics",
"## Critical reception",
"## Chart performance",
"## Personnel",
"## Charts",
"### \"Treacherous\"",
"### \"Treacherous (Taylor's Version)\""
] | 2,213 | 25,877 |
22,459,591 | Worship Music (album) | 1,170,718,391 | null | [
"2011 albums",
"Albums with cover art by Alex Ross",
"Anthrax (American band) albums",
"Megaforce Records albums",
"Nuclear Blast albums"
] | Worship Music is the tenth studio album by American heavy metal band Anthrax. The album was released on September 12, 2011 internationally, and on September 13 in the United States. It was the band's first album of original material since 2003's We've Come for You All, the first full-length Anthrax album since the return of longtime vocalist Joey Belladonna, and the final album with guitarist Rob Caggiano prior to his departure in January 2013.
The album's creation was a lengthy process, with work beginning as early as November 2008. The album was delayed due to issues with the departure of vocalist Dan Nelson, and for a short period of time the re-joining of John Bush who ultimately decided not to commit to the album. The band eventually reunited with Belladonna, and finished recording in April 2011. Worship Music was positively received upon release, with critics describing it as "fresh and eruptive as ever" and qualified it as a return to form for the band. The record debuted at number 12 in the United States, their highest chart position since 1993's Sound of White Noise.
## Background
In the December 2008 edition of his monthly SuicideGirls column, Food Coma, guitarist Scott Ian revealed that he had been in the studio working on the new Anthrax album since November 4. Ian went on to say that drums, bass, and rhythm guitar had been arranged for 19 tracks, and that the process of recording the vocals had begun. "We should be mixing at the end of January and soon after that giving birth to a really pissed off, loud, fast and heavy child." In a subsequent May 2009 Food Coma column, Ian announced that the album was being mixed by Dave Fortman, whose previous credits include albums by Evanescence and Slipknot.
The album was initially scheduled to feature Dan Nelson on vocals. However, following the events later that year, he was no longer a member of the band. When asked what would happen to the completed studio album featuring Nelson's vocals, Ian said: "Until we have a new singer, I can't tell you what will happen to the record. We'll probably change a few things on it, including the vocals." Ian also indicated that the album's release could be delayed until 2010. It was assumed that John Bush was going to record new vocals for the album after his reunion with the band. However, this did not happen. In an interview at the time, Bush said he was trying to re-record vocals for some of the songs that had already been recorded.
Bush eventually decided that he did not want to recommit to Anthrax full-time and left the group. As a result, the band reunited with Joey Belladonna. Following shows during the summer and fall of 2010, the band returned to the studio. Some of the completed songs were left as is, adding Belladonna's vocals, others were re–written, and some entirely new songs were composed with Belladonna. Drummer Charlie Benante suggested the album's title after the eponymous TV show. Although Ian stated that the album name could be changed, this turned out not to be the case. In October 2010 at Nassau Coliseum, Anthrax performed the song "Fight 'Em 'Til You Can't" for the first time with Belladonna. It was at this point that Ian said fans should expect the new record in late 2011.
In December, Ian stated that the band had almost completed the new album and only had to re-record two or three tracks. Ian further confirmed that all the material would feature vocals by Belladonna. Noisecreep reported that Worship Music had been shelved until Belladonna completed new vocal tracks. The band finished recording Worship Music in April 2011, and called it their "most emotional album". "Fight 'Em 'Til You Can't" was released as the lead single on June 24, 2011. It was released for free download as a way of saying "thank you" to fans' loyalty in waiting in anticipation for the album. Three days later, Ian announced that the band had started the mastering process for the upcoming album. The cover art was revealed the following month.
## Lyrics
The songs "Earth on Hell" and "Revolution Screams" refer to democracy in the United States and around the world. According to Ian, at the time of the album's release, these songs were "very much about people taking the power back". Although the songs were written long before, he cited the 2011 Egyptian revolution and Occupy Wall Street demonstrations as examples of this phenomenon coming to pass. "The Devil You Know", despite the line "Let the right one in" and the band's history of using horror stories as subject matter, was not a reference to the 2004 Swedish vampire novel Let the Right One In; it was about World War II veterans. "Fight 'Em 'Til You Can't" is about a zombie apocalypse, and "In the End" was written as a tribute to the late Ronnie James Dio, an inspiration for the band, and Dimebag Darrell, a friend and collaborator on three Anthrax albums. "Judas Priest" was named as a tribute to the heavy metal band Judas Priest, and contains a bridge that references several well-known Priest songs. "The Constant" is about the episode of the 2004 television series Lost of the same name, where a character travels through time until he finds his "constant".
"I'm Alive" was written when Dan Nelson was member of the band. Anthrax premiered the song live in 2008, though it was titled "Vampires" at that time. It is notable for its tribal-sounding introduction with clean guitars backed up by a marching drum beat, before taking off into a heavy riff and gradually breaking into a melodic chorus. In an album preview by Blabbermouth.net, "I'm Alive" was described as "beautiful and grand with a build that demands audience participation". The song was nominated for a Grammy Award in the category Best Hard Rock/Metal Performance, the band's fourth Grammy nomination.
## Release
Worship Music was internationally released on September 12, 2011, and on September 13 in the United States. It sold 28,000 copies in the United States in its first week of release and debuted at number 12 on the Billboard 200, the third highest position of their career (the second being its successor, For All Kings, which charted at number 9) and the highest since Sound of White Noise (1993), which peaked at number 7. The band's previous studio album, We've Come for You All (2003), opened with just under 10,000 units to debut at number 122. The album charted at number 13 in Germany and managed to break into the top 10 in Finland, reaching number 6. By September 2012, Worship Music sold about 100,000 copies in the United States.
When asked about a possible follow-up to Worship Music, bassist Frank Bello said that the band intended to re-release Worship Music with several bonus tracks. The bonus tracks were set to include covers of Rush and Boston songs. Bello stated that the plan was to release the reissue in the fall of 2012. A few days later, band members announced that five covers were included: "Anthem" by Rush, "Smokin'" by Boston, "Neon Knights" by Black Sabbath, "T.N.T." by AC/DC, and "Keep on Runnin'" by Journey. Although Scott Ian expected the reissue to be released by the end of the year, it was eventually postponed for 2013. The special edition of Worship Music was released on March 22, 2013 by Nuclear Blast. It consists of the original album and a bonus EP of cover songs, Anthems, which was also released separately on the same day in Europe, and three days earlier in North America.
## Reception
Critical reception of the album was generally positive. AllMusic's Greg Prato noted that in spite of the issues surrounding the departure of Dan Nelson, the album fits together "seamlessly" and called it the group's finest studio recording since Persistence of Time (1990). Jason Heller of The A.V. Club praised the album for being rid of the "nü-metal stench" of the previous record and the "all-around patchiness" from the other John Bush-era albums. Heller noted that it brought the band back into the "youthful dynamic". Classic Rock journalist Malcolm Dome observed that musically, Worship Music is a mixture of "the grinding power" of We've Come for You All and the more "clear-cut melodic approach" of Among the Living (1987), resulting in an album that is "violently metallic yet sophisticated".
Michael Christopher of The Boston Phoenix commented that Anthrax has learned from its past mistakes in making the album. He observed that the humor that characterized the previous albums was still present, and called this album a "fresh fistful of metal". Mikael Wood of the Los Angeles Times compared Worship Music to Metallica's Lulu, saying that Anthrax, unlike Metallica, opted to "reclaim ground" dominated by younger bands. Mark Fisher, writing in Metal Forces, highlighted the guitar performance, saying it reminded him of the sound Anthrax is mostly associated with. Although Fisher preferred the albums with John Bush on vocals, he remarked that Worship Music is a fine recording with a career-defining performance by Joey Belladonna. Chad Bowar from About.com also praised Belladonna's performance, noting that the vocal delivery was filled with angst and emotion. He opined that Anthrax sounded rejuvenated and qualified the album as a return to form.
Chad Grischow of IGN commented that the album sounded "as fresh and eruptive as ever" with the exception of "Crawl", the "rare misstep on the otherwise fantastic album". Loudwire's Matthew Wilkening said that Belladonna's 20-year absence from the band hasn't affected the band's chemistry at all. According to him, the album represented the maturity and musical growth of the band. PopMatters's Chris Colgan described the music as a combination of the "later material with shades of their thrash beginnings". He believes this wasn't "the glorious comeback" for Anthrax, but called it a solid album with signs of progress for the group.
### Accolades
## Touring
Anthrax spent the following two years touring in support of Worship Music. The band started the tour with the "big four" shows alongside Metallica, Slayer, and Megadeth, which took place in the summer of 2011. Due to the birth of his child, Ian missed the European leg of the tour; Sepultura guitarist Andreas Kisser acted as a fill-in. Ian was able to make an appearance in Milan, Italy, joining the band and Kisser for half of the setlist. Anthrax continued touring in late 2011. In October and November, Anthrax embarked on a 23 date US tour co-headlining with Testament and openers Death Angel. These three bands resumed performing together in early 2012. The trio announced further dates in the US and Canada in the fall of 2012, with Testament promoting their then-new album, Dark Roots of Earth. Anthrax teamed up with Motörhead for a ten show UK tour in November. In January 2013, it was announced that Caggiano had left the band. He was replaced by Shadows Fall guitarist Jonathan Donais.
Anthrax was announced as the headliner for the third annual Metal Alliance US tour, which endured through March and April 2013. Supporting acts included Exodus, Municipal Waste, and Holy Grail, with the headliner Anthrax performing Among the Living in its entirety. Charlie Benante has been taking time off from gigs outside the US because of personal reasons. His place was filled in by drummer Jon Dette during these shows. The group filmed their performance at Santiago, Chile, with Benante on drums, for the DVD album Chile On Hell. The tour ended with a show at San Bernardino, California, at the two-year anniversary of the album's release. After finishing the tour, the band took a short break before reconvening to start work on a new album.
## Track listing
All songs written by Belladonna, Bello, Benante and Ian (except "New Noise", written and originally performed by Refused). Tracks 2, 3, 4, 5, 8, 11, 12 and 13 co-written by Dan Nelson.
## Personnel
Credits are adapted from AllMusic.
### Anthrax
- Joey Belladonna – lead vocals
- Rob Caggiano – lead guitar, backing vocals
- Scott Ian – rhythm guitar, backing vocals
- Frank Bello – bass, backing vocals
- Charlie Benante – drums
### Additional musicians
- Dan Nelson - co author (tracks 2-5, 8, 11-13)
- Alison Chesley – cello
### Technical personnel
- Rob Caggiano – producer
- Jay Ruston – mixing and additional production
- Asim Ali – engineer
- Andy Lagis – assistant engineer
- Alex Ross – artwork
- Charlie Benante – cover concept
- Douglas Heusser – artwork, design
- Ross Halfin – photography
## Charts
## Release history | [
"## Background",
"## Lyrics",
"## Release",
"## Reception",
"### Accolades",
"## Touring",
"## Track listing",
"## Personnel",
"### Anthrax",
"### Additional musicians",
"### Technical personnel",
"## Charts",
"## Release history"
] | 2,798 | 28,826 |
2,248,894 | Captain Novolin | 1,171,159,619 | 1992 educational platform video game | [
"1992 video games",
"Alien invasions in video games",
"Children's educational video games",
"Kidnapping in fiction",
"National Institutes of Health",
"North America-exclusive video games",
"Science educational video games",
"Science fantasy video games",
"Side-scrolling platform games",
"Single-player video games",
"Super Nintendo Entertainment System games",
"Super Nintendo Entertainment System-only games",
"Superhero video games",
"Video games about diseases",
"Video games developed in the United States",
"Works about diabetes"
] | Captain Novolin is a 1992 educational platform video game, developed by Sculptured Software and published by Raya Systems for the Super Nintendo Entertainment System. Starring the eponymous superhero with type 1 diabetes, the game sees the player control Captain Novolin on a quest to save the mayor of Pineville from the supervillain Blubberman. It is a part of educational video game series from Raya that also includes Rex Ronan: Experimental Surgeon, Packy and Marlon, and Bronkie the Bronchiasaurus.
Funding for the game came from Novo Nordisk (makers of the Novolin brand of insulin) and the National Institutes of Health. To promote the game, Novo Nordisk distributed 10,000 free copies to hospitals. During its initial release, the game was positively received by diabetes specialists, as well as children with the condition; but the retrospective reception from video game critics has been poor, and it has been named as one of the worst video games of all time.
## Gameplay and plot
Captain Novolin is a 2D side-scroller. The plot of Captain Novolin has the titular hero setting out to save Pineville's diabetic Mayor Gooden from aliens and their leader Blubberman, as the mayor only has enough insulin for 48 hours.
Before the game starts, a doctor and dietitian give advice on how to manage one's diet and insulin. Throughout the game, Captain Novolin has to avoid the alien invaders, who have the appearance of junk food items, such as "Cereal Killer" and "Larry Licorice". Meanwhile, Captain Novolin must eat healthy meals to keep his blood glucose within a safe zone. Captain Novolin can die if his blood glucose level goes too high or low. Players can earn points by keeping Novolin's glucose level in the safe zone and defeating the enemy aliens, while receiving bonus points by correctly answering questions that relate to diabetes. In addition, the game has a feature whereby a diabetic player can specify the frequency of their real-life insulin injections.
## Development
Captain Novolin was published by Mountain View, California-based company Raya Systems. The President and founder of Raya, Steve Brown, had previously worked with medical companies, supplying them software applications. His interactions with these companies had led him to the conclusion that there needed to be a new way to give children medical information, including about diabetes. The company teamed up with Novo Nordisk to fund the game, as did the National Institutes of Health. Novo Nordisk also helped design the titular character. Sculptured Software developed for the game. Their previous titles included Super Star Wars and NCAA Basketball.
Novo Nordisk distributed 10,000 free copies of the game to hospitals in the United States. It was also shown at diabetes summer camps across the US. The game was released for the Super Nintendo Entertainment System in November 1992, exclusively in North America. It is the first game about diabetes self-management. Subsequent games promoting self-management include 2003's Diabetes Education for Kids for computers and Japanese exclusives Detective and Buildup Blocks for the Game Boy Advance in 2004. Captain Novolin is the first entry in Raya Systems' "Hero Health" series, with later games focusing on tobacco (Rex Ronan: Experimental Surgeon), asthma (Bronkie the Bronchiasaurus), and diabetes once again (Packy and Marlon).
## Evaluations
Captain Novolin was warmly received among children with diabetes and their parents. In one study, 23 diabetic children (10 boys and 13 girls in the age range of 6 to 16 years) and the parent of one child were interviewed individually. The children were enthusiastic about the game, with several saying that it would be useful when telling their friends about diabetes. A separate evaluation involved a number of diabetic children aged from 8 to 14, along with their respective parents. Participants said that the game could help parents and children to talk about diabetes, as well as helping children talk to their friends about the subject. Former Cheers cast member John Ratzenberger, a celebrity volunteer for the Juvenile Diabetes Foundation, thought the game was fun, feeling that it taught children how to manage their diabetes.
## Reception
The magazine Esquire included Captain Novolin with their “Dubious Achievement Awards of 1992“, mocking the game's concept and sarcastically preferring “Super Prozac Brothers“. Retrospective reception of the game was widely negative; it was called one of the worst video games of all time. Reviewing Captain Novolin for Hardcore Gaming 101, Charles P. Gill, criticizing its gameplay, graphics, and sound, considered it "so bad that it's really, really funny". Matthew Williamson for GameSetWatch was negative towards the Captain Novolin sprite, saying that it took up one-third of the screen. Williamson also called the Captain “possibly the worst super hero ever“, noting the character could only attack while in mid-air. Writers for Diabetes.co.uk also found unintentional humor in the game, made funnier, they said, by its US\$60 retail price. Electronic Gaming Monthly's Seanbaby placed it as number 4 in his "20 worst games of all time" feature and was quoted as saying, "The game is so bad you'll start to root for diabetes." K. Thor Jensen for UGO called it one of the worst educational games of all time, while Robert Quigley and Susana Polo from The Mary Sue named it as one of the weirdest. Game Informer's Ben Reeves considered it to be one of the strangest corporate mascots to get their own video game. Time Extension's Damien McFerran listed Captain Novolin as one of the worst SNES games. | [
"## Gameplay and plot",
"## Development",
"## Evaluations",
"## Reception"
] | 1,169 | 33,434 |
69,300,845 | Mo Drake | 1,145,515,075 | British advertising executive (1928–2021) | [
"1928 births",
"2021 deaths",
"British advertising executives",
"British copywriters",
"People from Bromley-by-Bow",
"Royal Air Force personnel"
] | Maurice Drake (20 May 1928 – 22 August 2021) was a British advertising executive. He missed several years of education due to the Second World War and left school at the age of 14. Drake found work as a filing clerk at an advertising agency before carrying out national service with the Royal Air Force. Upon completion of his military service, he joined public relations firm Armstrong Warden.
Drake left the industry briefly in the 1950s to become a jokewriter, working closely with Bob Monkhouse. He returned to advertising in 1959 and enjoyed success at Young & Rubicam. Drake used his connections in the entertainment industry to convince celebrities, including Bruce Forsyth and Frank Muir, to front his advertisements. He was behind campaigns for Maxwell House, Cadbury, Flora and Wall's (for whom he developed the "Just One Cornetto" campaign). His most successful slogan was "Beanz Meanz Heinz" which he devised in 1967 and remained in use almost continually for 30 years. He retired in the mid-1980s but continued to lecture in advertising.
## Early life and career
Maurice Drake, known as Mo, was born in Bromley-by-Bow, London, on 20 May 1928 to Thomas and Sarah Jane Drake, a working-class family. When Drake was three years old, the family moved to Ilford. Drake passed his eleven-plus examination but was prevented from attending grammar school by the Second World War. He first attended a secondary school at the age of 14 but left after a few months. Despite disruption to his formal education, Drake was a keen reader, particularly of Shakespeare.
After leaving school Drake joined the Thames advertising agency as a filing clerk. He left the company at the age of 17 to carry out his national service with the Royal Air Force. Upon completing his national service, Drake joined public relations firm Armstrong Warden. Though it was not his main role he proved so skillful at writing publicity releases that he was appointed to a full-time role as a copywriter.
Drake left his job to work with former colleague Jack Potter as joke writers. Potter and Drake submitted jokes to Bob Monkhouse, who was then a scriptwriter at the BBC. Monkhouse paid them £10 for their first submissions and afterwards served as their de facto agent. Drake and Potter's jokes were used by Arthur Haynes, Bruce Forsyth and Nicholas Parsons. Monkhouse introduced Drake to several key figures in the entertainment industry, that proved of help to his later career.
## Advertising
Drake later rejoined Armstrong Warden and, in 1959, joined another agency, Young & Rubicam. He often contacted comedians he had written for to appear in his advertisements. He convinced Forsyth to appear in a Maxwell House coffee advertisement after the role was turned down by Tommy Cooper, Groucho Marx and Bob Hope (who had refused to take part unless he was given use of a Rolls-Royce). He also persuaded Frank Muir to sing "Everyone's a Fruit and Nut Case" on an advertisement for Cadbury's Fruit and Nut bar. Cadbury was Drake's favourite client and another of his lines promoting Fruit and Nut was "The nuts are so nutritious, the fruit is so fruiticious and connoisseurs of chocolate pronounce it quite delicious". His favourite Cadbury campaign was for their Dairy Milk bar, with the slogan "award yourself the CDM". This was an allusion to the three-letter acronyms common for awards in the British honours system. Drake's campaign encouraged the public to nominate people for the "CDM" [Cadbury's Dairy Milk] award.
Drake was commissioned in 1967 to produce a campaign for Heinz Baked Beans, whose dominance in the market was being threatened by the introduction of supermarket own-brand baked beans. Drake was at this time deputy creative director at Young & Rubicam. Having failed, after several weeks, to come up with an idea he and his team went to the Victoria pub in Camden. As he was drinking his second pint of beer he was struck with the idea for the slogan "Beanz Meanz Heinz". Drake noted "I was just scribbling on my pad when it dawned on me that you could end Beans with a 'z', as 'Heinz' did". His subsequent campaign included the line "A million housewives every day pick up a tin of beans and say 'Beanz Meanz Heinz'" set to a tune by Johnny Johnson. The figure used here by Drake was actually an understatement, the real figure being 1.75 million but Drake considered his line to be more suited to music.
Drake's slogan led to increased sales and was used almost continuously by Heinz for 30 years, being dropped only briefly in 1993–1996 for "Heinz Buildz Britz" developed by advertising agency BMP. In 2003 the company considered replacing the slogan but could find no adequate replacement. In 2004 the company capitalised on the success of Drake's original slogan by changing their on-product branding to "Heinz Beanz", which it remains. "Beanz Meanz Heinz" was voted the most popular advertising slogan of all time in 1999 and in 2000 came top in a ranking of 84 entrants in the Advertising Hall of Fame. The slogan was dropped in 2008 as Heinz wanted their name to be linked with a wider range of products than just beans. In 2017, to celebrate the 50th anniversary of the slogan, the company released 50 special edition tins (priced at £10 each) signed by Drake.
Drake later left Young & Rubicam to become creative director at Grey Advertising and at Lintas. During this time his team developed the "Just One Cornetto" slogan for Wall's ice cream and "Flora, the Margarine for Men" for the vegetable-based spread. Drake retired in the mid-1980s.
## Personal life and retirement
In retirement Drake lectured widely, including a regular seminar at Trinity College, Oxford. He was dismissive of modern advertising strategies, complaining that modern writers were more concerned with the use of special effects than creating long-lasting campaigns that remained in the public consciousness: "Why bother using your imagination when you can spend £100,000 on special effects?".
Drake married Georgina Taylor in 1952. They had met whilst Drake was visiting his friend, who was a patient in a tuberculosis hospital; Taylor was a friend of the patient's girlfriend. Drake and Taylor had three daughters and a son. In his private life Drake was a fan of jazz music and played the guitar. In later life he lived in a care home in Brighton. He died, a widower, on 22 August 2021. | [
"## Early life and career",
"## Advertising",
"## Personal life and retirement"
] | 1,402 | 35,254 |
9,914,595 | 1999 UEFA Cup Winners' Cup final | 1,161,846,758 | null | [
"1990s in Birmingham, West Midlands",
"1998–99 in English football",
"1998–99 in European football",
"1998–99 in Italian football",
"1998–99 in Spanish football",
"International club association football competitions hosted by England",
"International sports competitions in Birmingham, West Midlands",
"May 1999 sports events in the United Kingdom",
"RCD Mallorca matches",
"SS Lazio matches",
"UEFA Cup Winners' Cup finals"
] | The 1999 UEFA Cup Winners' Cup final was a football match between Mallorca of Spain and Lazio of Italy played on 19 May 1999 at Villa Park, Birmingham, England. It was the final match of the 1998–99 season of the UEFA Cup Winners' Cup and the culmination of the competition before it was absorbed into the UEFA Cup the following season. Mallorca were appearing in their first final in their first season in European competition, while Lazio were also appearing in their first Cup Winners' Cup final. It was their second European final in succession after reaching the final of the UEFA Cup the previous season.
Each club needed to progress through four rounds to reach the final, which were contested over two legs, with a match at each team's home ground. Mallorca's ties were all close affairs. They beat Genk of Belgium on the away goals rule after the tie finished 1–1 on aggregate. They beat defending champions Chelsea of England by a single goal. The majority of Lazio's ties were close affairs, two of which were decided on the away goals rule. The exception was their quarter-final tie against Greek team Panionios, which they won 7–0 on aggregate.
Watched by a crowd of 33,021, Lazio took the lead in the final when striker Christian Vieri scored in the 7th minute. They were not ahead for long as Mallorca equalised four minutes later when striker Dani scored. The match remained level for the majority of the match until the 81st minute when Lazio midfielder Pavel Nedvěd scored. With no further goals, Lazio won the match 2–1 to win the last Cup Winners' Cup and their first European trophy.
## Route to the final
### Mallorca
Mallorca qualified for the UEFA Cup Winners' Cup by finishing as runners-up in the Spanish Copa del Rey. They lost to Barcelona 5–4 in a penalty shootout, but as Barcelona finished first in the 1997–98 La Liga, they qualified for the 1998–99 UEFA Champions League and Mallorca were awarded their spot in the Cup Winners' Cup. Mallorca's opponents in the first round were Scottish team Heart of Midlothian (Hearts). They won the first leg, held at Hearts' home ground Tynecastle, 1–0. The second leg was held at Mallorca's home ground, the Estadio Lluís Sitjar. Before the match, Hearts players protested that the goalposts at the same did not meet regulations. An inspection revealed there was a 10-centimetre (3.9 in) difference between one post and the other at both ends of the ground, this was due to the undulation of the pitch. Despite the issue, the match went ahead and finished 1–1. This meant Mallorca progressed to the second round 2–1 on aggregate. Genk of Belgium were the opposition in the second round. The first leg held at the King Baudouin Stadium in Belgium finished 1–1. The second leg ended in a 0–0 draw, which meant Mallorca won the tie on the away goals rule to progress to the quarter-finals.
Mallorca faced Croatian team Varteks in the quarter-finals. The first leg, held at Varteks home ground, Gradski Stadion, finished 0–0. Three goals from Ariel Ibagaza, Veljko Paunović, and Dani, despite a late goal from Varteks defender, Andrija Balajić, were enough to secure a 3–1 victory and their progression to the semi-finals. Their opponents in the semi-finals were English team, Chelsea, who had won the competition the previous season and were looking to become the first team to retain the competition. Mallorca went ahead in the first leg at Chelsea's home ground, Stamford Bridge, when Dani went past Chelsea goalkeeper Ed de Goey to score. Chelsea equalised in the 50th minute when striker Tore André Flo scored. Mallorca took an early lead in the second leg when Leonardo Biagini scored. Chelsea midfielder Roberto Di Matteo hit the crossbar 20 minutes from the end of the match and fellow midfielder Dennis Wise missed a header to equalise. They were unable to score and Mallorca won the match 1–0 to win 2–1 on aggregate and progress to the final in their first season in European competition.
### Lazio
Lazio qualified for the Cup Winners' Cup after they won the 1997–98 Coppa Italia. They beat Milan 3–2 on aggregate in the final. Their opponents in the first round were Swiss team, Lausanne-Sport. The first leg finished in a 1–1 draw. The second leg also finished in a draw, this time the scores were 2–2. This meant that Lazio progressed to the second round due to the away goals rule. Partizan of Yugoslavia were the opposition in the second round. The first leg ended in a 0–0 draw and Lazio won the second leg 3–2 to progress to the quarter-finals.
They faced Greek team Panionios, Lazio won the first leg 4–0 and were able to rest some of their first-team players in the second leg. Midfielders Pavel Nedvěd and Dejan Stanković both scored before fellow midfielder, Iván de la Peña secured a 3–0 victory to secure Lazio's progression to the semi-finals. Their opponents were Lokomotiv Moscow of Russia. The Russian side went ahead in the first leg, at the Lokomotiv Stadium, when striker, Zaza Janashia, scored in the 61st minute. Lazio equalised in the 77th minute when substitute Alen Bokšić scored. They almost won the match three minutes from full-time, but a shot by Stanković was saved by Lokomotiv goalkeeper Ruslan Nigmatullin, the match finished 1–1. The second leg was ended in a 0–0 draw, which meant Lazio progressed to the final on the away goals rule after the tie finished 1–1 on aggregate.
## Match
### Background
Mallorca were appearing in their first Cup Winners' Cup final in their first season in European competition. Lazio were also appearing in their first final in the competition, however, they had reached the final of the UEFA Cup the previous season, a match they lost 3–0 to fellow Italian team, Internazionale. The final was the last in the history of the competition. Founded in 1961, the Cup Winners' Cup was to be disbanded and incorporated into the UEFA Cup the following season.
Mallorca's last match before the final was against Racing Santander in the 1998–99 La Liga, they lost 1–0. Mallorca's record of 25 goals conceded in 33 games was the best in La Liga. Lazio's final match before the final was a 1–1 draw with Fiorentina. The result meant they slipped behind into second with a game left to play in the 1998–99 Serie A season. The Cup Winners' Cup final was held at the home of Aston Villa, Villa Park in Birmingham. The chairman of Aston Villa, Doug Ellis, considered Lazio to be the favourites: "Lazio are favourites if you listen to the bookmakers, but Mallorca have some very, very good players."
Lazio manager, Sven-Göran Eriksson, was adamant his side were eager to win the Cup Winners' Cup despite the possibility of winning Serie A the weekend after the final: "This is not a secondary objective. We must find the grit and determination, the courage and the energy, to win the cup." The difference in the two teams was emphasised before the final. Lazio had spent £73 million on new players the previous summer, while Mallorca were considered "an unfashionable island side" by The Guardian. This did not bother Mallorca striker Dani, who was adamant they could compete with Lazio: "We are conscious of the huge difference between the squads ... but we make up for that with concentration and teamwork to get results."
The choice of Austrian, Günter Benkö, as referee concerned the Italian media. Corriere dello Sport called him a "scandalous referee." They referred to him as "a sworn enemy of Italian squads," after he had sent off two Italian players in a UEFA under-21 international in 1996.
### Summary
Both teams lined up in a 4-4-2 formation with four defenders, four midfielders and two strikers. The opening minutes of the match were "breathtakingly open", according to The Guardian. A Vieri shot from 25 yards (23 m) was saved by Mallorca goalkeeper, Carlos Roa. The first goal was scored in the seventh minute when striker Christian Vieri headed a pass from Giuseppe Favalli past Roa. Four minutes later, Mallorca had equalised. Miquel Soler passed to Jovan Stanković who crossed from the right-hand side of the pitch which was converted past Lazio goalkeeper, Luca Marchegiani, by Dani. Vieri was injured when Roa's hand caught him in the head. He was carried off the field midway through the first half and his head bandaged before he returned. A long-range shot from Vieri was saved by Roa, while a Mallorca free-kick taken by Jovan Stanković passed through the Lazio penalty area without anyone touching the ball. A bicycle kick by Lazio striker Marcelo Salas, which Roa saved, was the last chance before the first half came to an end with the scores at 1–1.
According to Phil Shaw, writing in The Independent, "the open play which had characterised the start of the contest was markedly absent as the second period unfolded." Mallorca started the better of the two teams with Lauren causing problems down the right-hand side of the pitch. Dejan Stanković was caught in the face by Mallorca defender, Gustavo Siviero as he made an overhead clearance. Siviero was shown a yellow card and Dejan Stanković was replaced by Sérgio Conceição following the incident. Lazio had the best chance of the second half in the 60th minute when a free-kick by defender Siniša Mihajlović, from 32 yards (29 m) went just wide of the Mallorca goal. Minutes later, Roberto Mancini had a chance to score, but his shot hit the crossbar and he was deemed to be offside. A shot by Lauren was saved by Lazio goalkeeper, Marchegiani, minutes later. Mallorca had another chance to score as Jovan Stanković made his way into the Lazio penalty area. His shot went over the head of Marchegiani, but Alessandro Nesta headed the ball away from the Lazio goal. With nine minutes left to play, Lazio scored. Nedvěd volleyed a clearance past Roa in the Mallorca from 20 yards (18 m). Nedvěd was substituted after the goal and with no further goals scored, Lazio won the match 2–1 to win the last ever Cup Winners' Cup.
### Details
## Post match
Lazio manager, Eriksson, was delighted with the result: "I feel very happy, This is Lazio's first win in Europe. This is also the last Cup Winners' Cup so the trophy is ours forever. No-one can take it away from us. It was a very good game. Mallorca are a very good team but we deserved it. We've only lost one match in Europe in the last two seasons and that was last year's UEFA Cup final against Inter." He went to say that the victory would be a consolation if his team failed to win Serie A the following weekend: "We'll try to beat Parma and see if it's enough for us to be champions of Italy, whatever happens, we've had an extremely good season. We're undefeated in Europe, we won the Italian Super Cup and we're fighting for the league title to the end."
Mallorca manager, Héctor Cúper, was proud of his team despite the loss: "Nothing is consolation when we did not get the victory. We all feel the same way at this moment in time in my team. No words that can describe how we feel. We have a team that is really strong. No-one could imagine how we are feeling at the moment. when you go into a game you go into it with a certain mindset, a clear mind. I can only repeat there are no words to describe now we feel at the moment. We cannot even fathom it. Maybe tomorrow we will understand how we feel. But today I am very proud of my team and how they played."
Lazio's final match in Serie A was against Parma, while Milan faced Perugia. Lazio needed to win and Milan to drop points if they were to win finish the season as champions. Despite victory against Parma courtesy of two goals by Salas, Milan beat Perugia, this meant Milan won Serie A with Lazio second. They qualified for the 1999–2000 UEFA Champions League as a result of their final position. Lazio's victory in the Cup Winners' Cup entitled them to play in the UEFA Super Cup. They faced the winners of the 1998–99 UEFA Champions League, Manchester United, a match they won 1–0.
Mallorca had four matches left to play in La Liga. They won two and lost two to finish in third position behind champions, Barcelona and runners-up, Real Madrid. Their third-place finish meant they would enter the Champions League in the third qualifying round. At the end of the season, Cúper left to become manager of Valencia. | [
"## Route to the final",
"### Mallorca",
"### Lazio",
"## Match",
"### Background",
"### Summary",
"### Details",
"## Post match"
] | 2,889 | 31,300 |
363,604 | Mario Party 5 | 1,168,565,055 | 2003 video game | [
"2003 video games",
"D.I.C.E. Award winners",
"GameCube games",
"GameCube-only games",
"Mario Party",
"Multiplayer and single-player video games",
"Party video games",
"Video games about pirates",
"Video games developed in Japan"
] | Mario Party 5 (Japanese: マリオパーティ5, Hepburn: Mario Pāti Faibu) is a party video game developed by Hudson Soft and published by Nintendo for the GameCube. It is the fifth installment in the Mario Party series and the second game in the series to be released for the GameCube. It was first released in North America and Japan in November 2003, followed by Europe a month later. The game is set in the fictional Dream Depot, consisting of seven game boards. The single-player "Story" mode involves the player winning multiple games against the Koopa Kids to prevent Bowser from conquering the Dream Depot. The main multiplayer game mode consists of four characters from the Mario series playing a board game, with each board having a set theme. The game also features several minigames, which are played after every set of turns. Mario Party 5 introduces the "Super Duel" mode to the franchise, which requires players to assemble and control custom made battle vehicles which can be used in combat against other machines. The game features ten playable characters, with playable debuts to the series from Toad, Boo, and Koopa Kid.
Mario Party 5 received "average" reviews by the media; reviewers enjoyed the new minigames of the series, although a perceived lack of originality was criticized. The game became part of the Nintendo Player's Choice label in 2004, and won the Console Children's Award at the 2004 Interactive Achievement Awards. It was followed by Mario Party 6 in 2004.
## Gameplay
Mario Party 5 retains the fundamental gameplay featured in previous installments, which is based upon a themed board game played by characters of the Mario series. The player's objective is to obtain the most stars by the end of the board game, which are purchased for twenty coins when passing the designated star space on the game board. There are 77 minigames, through which most coins are earned. A randomly-chosen minigame is played after all players have rolled the die. "Party Mode" is the main multiplayer mode, and involves four characters competing in a standard board game either independently or in opposing pairs. As with its predecessors, players can adjust the number of turns in a game by multiples of 5 up to 50 and determine the difficulty of artificial intelligence opponents, among others.
Mario Party 5 features ten playable characters, including three additional characters to the series: Toad, Boo, and Koopa Kid. Hudson omitted Donkey Kong as a playable character from the series in this installment, instead featuring him in the "DK space", which initiates an event granting the possibility of a star or coins whenever landed on. Like previous installments, blue and red spaces add or deduct 3 coins from players when they land on them. "Bowser spaces" return from Mario Party 4. While the series' predecessors used item shops as a means to obtain items, Mario Party 5 introduces the capsule system. Capsules are containers that hold a single item which are acquired when passing the "Capsule Machine" on the board. The items contained within them serve a variety of purposes, from increasing the range of the Dice Block and thus movement, to deducting ten coins from an opponent. The capsules can only be thrown up to ten spaces ahead of the current position. During a game, the gameplay is altered for the last five turns with the options selected randomly via a roulette wheel; such changes include tripling the coin benefit or deficit from coloured spaces.
The game's boards incorporate the theme of the Dream Depot, with each having "Dream" at the end of the board's title, except for the "Bowser's Nightmare" board. Themes of the boards include dreams of toys and treasure hunting, among others. Each board consists of multiple types of spaces, some of which grant special types of minigames that cannot be accessed regularly. Some spaces, specifically "happening" spaces, will incorporate the relevant theme; for example, a giant robot resembling Mecha Bowser will shoot any character back to the start when landing on its "happening" space in the Toy Dream board.
Players can choose to play minigames separate from the board game context via "Minigame Mode". The minigames are categorized by their character structure with "4-player", "1 vs. 3", and "2 vs. 2" available. Besides these standard versions, there are also the "DK" and "Bowser" minigames, which are themed to reflect their titular character; "Battle" minigames are retained from the previous three Mario Party games. "Duel" minigames, which involve 2 players competing against each other, are re-introduced. The set of minigames are available without a structure ("Free play") in this mode, but can be formatted into tournaments and separate objectives like in "Mini-game circuit", involving the characters winning minigames to reach the finish line first. A total of 75 minigames can be played, but they all must be unlocked via "Party mode" and "Story mode" before they can be played in "Minigame Mode". In "Bonus Mode", a set of 3 larger games that do not appear in usual play can be accessed; this involves a card-based board game ("Card party"), as well as Beach volleyball and Ice hockey.
Mario Party 5 introduced the "Super-Duel Mode", a game involving the player assembling and controlling a combat vehicle. Each component of the vehicle can be bought separately; these do not necessarily have to fit with other parts stylistically, and contribute to the vehicle's general statistics regarding fields such as health and speed. Once the vehicle is assembled and named, it can engage AI or human opponents in a single match or in tournaments. Variants of this are available, including a capture the flag mode and another requiring the player to shoot mechanical rabbits.
The story mode in Mario Party 5 is completely different from the story modes of Mario Party 3 and 4. Players face the Koopa Kid trio (red, green, and blue). The only way to defeat them and clear the board is to take all their coins away, mostly by beating them in minigames. Players must take all coins from a Koopa Kid to defeat him. If players lose all of the coins or don't defeat the Koopa Kids within fifteen turns, the game is over. After players win 5 boards, they face Bowser in a final stage mini-game called "Frightmare", which is a 1-on-1 mini-game with Bowser. There are 4 parts to the battle. First, players go against Mechakoopas (robotic versions of Koopa Troopas). Next, players have to move and jump around to avoid 3 rings of fire for a short time. Then players face Bowser directly; they must make him jump onto a tile 3 times to clear the third part. The final part of the minigame is the final battle, where Bowser grows. After throwing fireballs and hitting Bowser with them 5 times, the game is cleared and the final board is unlocked. Also, just like in Mario Party 3, the new playable characters are unplayable in this mode.
## Development
Like its predecessors, Mario Party 5 was published by Nintendo and developed by Hudson Soft. Nintendo first unveiled the game at the E3 conference in 2003, where eight mini-games were available in a playable demonstration. Following release, Nintendo announced Mario Party 5 as a "Player's Choice" title, which is a label for Nintendo titles that had sold more than one million copies to be sold at a bargain price.
## Reception
Mario Party 5 received "mixed or average" reviews according to the review aggregation website Metacritic.
Game Informer's Andrew Reiner cited the example of coin redistribution in the game, which meant that "You could win every minigame and collect the most coins but still end up in last place", when giving a second opinion of the game. While acknowledging issues relating to the waiting times during board games, IGN's Peer Schneider praised this installment for relieving the problem slightly, specifically referring to the Koopa Kids, who all take their turns at the same time in "Story" mode. The quantity and accessibility of the minigames was lauded by GameSpot, although the reviewer Ryan Davis proceeded to note "If you bought Mario Party 4 last year, Mario Party 5 is hard to recommend", noting a lack of change to the series formula. Generally, critics cited having a fun experience in Mario Party 5, although the minigames received a more enthusiastic reaction than the actual board game, with GameSpy commenting that "the sheer volume can keep you compelled. If only you didn't have to deal with all that BS in-between" when referring to gameplay of the actual board game.
Features introduced in the game received a mixed response. The 3 games in "Bonus" mode were praised, although reviewers were least enthusiastic about "Card Party", with GameSpot commenting that "This mode is proof that the minigames are really what make Mario Party fun, as it's pretty dull." The capsule system was generally criticised as the pertaining animations seemed to exacerbate the game's slow pace. Despite other reviewers' claims that the capsule system contributed to the game's dependence on chance, IGN commended the system for contributing to a more dynamic game board experience. The "Super Duel" mode was praised as a reasonably fun feature, although the gameplay was rated as "sluggish". GameSpy noted the seemingly increased board sizes from previous installments, which apparently made obtaining stars and using ranged items more difficult
The game's graphics received a mediocre response, with GameSpot commenting that the presentation is "starting to seem a bit antiquated" when noting that the character models did not seem to have been updated from Mario Party 4. Despite this, IGN commented that Mario Party 5 "isn't a bad looking game", noting the level of detail and variety given to the game's board game's and maps. GameSpot noted that the game's audio did fit the game, although they commented that it "is largely recycled from Mario Party 4". IGN criticized the "cheesy" and unadventurous soundtrack, as well as a lack of voice acting.
Despite the mixed reception, the Academy of Interactive Arts & Sciences awarded Mario Party 5 with "Console Children's Game of the Year" at the 7th Annual Interactive Achievement Awards.
It sold 807,331 copies in the US. | [
"## Gameplay",
"## Development",
"## Reception"
] | 2,174 | 37,617 |
46,555,382 | Chips and dip | 1,166,282,669 | Chips or crisps served with dips | [
"American cuisine",
"Dips (food)",
"Food combinations",
"Snack foods"
] | Chips and dip is a dish consisting of chips (crisps) served with dips. Chips used include potato chips, tortilla chips, corn chips, bean chips, vegetable chips, pita chips, plantain chips and others. Crackers are also sometimes used, as are crudités, which are whole or sliced raw vegetables. Various types of dips are used to accompany various types of chips. It may be served as a party dish, appetizer, hors d'oeuvre, or snack.
Chips and dip gained significant popularity in the United States during the 1950s, in part due to a Lipton advertising campaign for their French onion dip recipe, sometimes referred to as "California dip". Specialized trays and serving dishes designed to hold both chips and dip were created during this time. Chips and dip are frequently served during the Super Bowl American football game in the United States. National Chip and Dip Day occurs annually in the U.S. on March 23.
## History
### United States
The popularity of chips and dip significantly increased in the United States during the 1950s, beginning circa 1954, due to changes in styles of entertaining in the suburbs and also due to a Lipton advertising campaign based upon using Lipton's instant dehydrated onion soup mix to prepare dip. The advertising campaign occurred on television and in supermarket display advertising, and promoted mixing the soup mix with sour cream or cream cheese to create a dip, to be served with potato chips or crudités. This dip began to be called California Dip. The advertising campaign realized significant success, and new, similar dip products were quickly developed thereafter. During this time, unique platters designed for chips and dip service were created that allowed for the containment of several types of chips, and service variations were devised that included serving the dip in a bread bowl or hollowed-out fruit.
Chips and dip are a popular food during the annual Super Bowl game in the United States. Eighty-five percent of Americans eat potato chips.
## With corn-based chips
Chips and salsa, typically served using tortilla or corn chips, is a common type of chips and dip dish that gained significant popularity in the United States in the late 1980s. Chips and guacamole, also typically served with corn-based chips is another type, as well as chips and bean dip. Seven-layer dip and tortilla chips is another corn-based chip combination, as is chile con queso, an appetizer or side dish of melted cheese and chili pepper typically served in Tex-Mex restaurants as a sauce for nachos.
## Double dipping
Double-dipping involves biting a chip and then re-dipping it into a dip, which some people disapprove of, while others are indifferent. Double-dipping ostensibly transfers bacteria from a person's mouth into a dip, which can then be transferred to other consumers' mouths. The term "double dipping," although it had existed since at least the mid twentieth century, was popularized in the 1993 Seinfeld episode "The Implant".
In March 2013, Tostitos, a U.S. brand of tortilla chips and dips, hired the Ketchum communications agency to perform a survey concerning double dipping that polled over 1,000 Americans. The survey found that 46% of male participants double-dip at a party, compared to 32% of females. 54% stated that they would not consume dip after seeing another person double-dip, and 22% stated that they did not care. 25% stated that they would verbally object to a person caught double-dipping.
A study performed by the Department of Food Science and Human Nutrition at Clemson University claimed that three to six instances of double-dipping "would transfer about 10,000 bacteria from the eater’s mouth to the remaining dip," which corresponds with "about 50-100 bacteria from one mouth to another, in every bite." The study's conclusion recommended that double-dipping should, in their opinion, be curtailed, including tips to prevent it from occurring. The pH of the dip also affects the bacterial growth; higher acidity reduces the bacteria in the dip over time.
A segment on MythBusters in 2009 tested how much bacteria is transferred during the process of double-dipping, finding that there is a transfer but that it, "adds only a few more microbes".
## National Chip and Dip Day
National Chip and Dip Day occurs in the United States annually on March 23.
## In popular culture
Double-dipping was used as a plot point in the Seinfeld episode "The Implant". One of the main characters, George, argues at a funeral reception with his girlfriend's brother (Timmy) when he is accused of double-dipping a chip. This episode inspired the 2009 segment on MythBusters.
## See also
- Clam dip
- French onion dip
- List of dips
- List of potato dishes
- List of snack foods | [
"## History",
"### United States",
"## With corn-based chips",
"## Double dipping",
"## National Chip and Dip Day",
"## In popular culture",
"## See also"
] | 1,018 | 23,094 |
32,949,972 | Prussian Homage (painting) | 1,167,860,808 | Oil on canvas painting by Polish painter Jan Matejko painted between 1879 and 1882 in Kraków | [
"1882 paintings",
"Cultural depictions of Polish men",
"Cultural depictions of Stańczyk",
"Cultural depictions of kings",
"Cultural history of Poland",
"Germany–Poland relations",
"Paintings by Jan Matejko",
"Paintings in the National Museum, Kraków",
"Polish art"
] | The Prussian Homage (Polish: Hołd pruski) is an oil on canvas painting by Polish painter Jan Matejko painted between 1879 and 1882 in Kraków (then part of Austria-Hungary). The painting depicts the "Prussian Homage", a significant political event from the time of the Renaissance in Poland in which Albrecht of Hohenzollern, the Duke of Prussia paid tribute and swore allegiance to King Sigismund I the Old in Kraków's market square on 10 April 1525. Matejko depicted over thirty important figures of the Polish Renaissance period, taking the liberty of including several who were not actually present at the event.
The painting glorifies this event in Poland's past and its culture, and the majesty of its kings. At the same time, the painting has darker undertones, reflecting the troubled times that befell Poland in the late eighteenth century, for the Kingdom of Prussia would become one of the partitioning powers that ended the independence of Poland. The painting was seen by some as anti-Prussian, foretelling its perceived betrayal of Poland; others have noted it is also critical of Poland, as Matejko included signs that signify this seemingly triumphant moment was a hollow, wasted victory. Matejko created his painting to remind others about the history of the no-longer-independent country he loved, and about the changing fates of history. The painting is counted among his masterpieces.
## History
Matejko began to paint the Prussian Homage on Christmas Eve 1879 and finished it in 1882. He donated it to the Polish nation during the meeting of the Diet of Galicia (Sejm Krajowy) in Lwów (Lviv) on 7 October 1882 to start a collection designed to revive the remodelling of Wawel Castle. It was subsequently exhibited in Kraków, Lwów and Warsaw, as well as in Berlin, Paris, Budapest, and most notably in Rome and Vienna. When it returned to Kraków in 1885, it was temporarily exhibited in the Sukiennice Museum because the Royal Wawel Castle was occupied at that time by the Austrian army, as Kraków was part of the Austrian partition of Poland.
Because of the pro-Polish and anti-Prussian character of the painting German emperor William I objected to a proposal to reward Matejko. During this period, Prussia was trying to suppress Polish culture in its territory and Germanise it. During World War II, the Nazis systematically tried to destroy all Polish cultural artefacts in occupied Poland. This painting, together with Matejko's painting of the Battle of Grunwald, was on their "most wanted" list. Fortunately it was hidden and safeguarded throughout the war in the town of Zamość.
For most of the twentieth and at the beginning of the twentieth-first centuries, the painting has been hung in the National Museum gallery in the Sukiennice Museum in Kraków, where it is usually displayed in the Prussian Homage Hall.
Renovation work started in the Sukiennice Museum in June 2008. The painting previously had been restored in 1915 and 1938. During World War II it was damaged while it was at Zamość, and in 1945 it was renovated. In 1974, experts again tried to restore it to its original condition before it went on public exhibition in Moscow. The most recent restoration process took place between 2006 and 2008, when the painting was finally returned to its former glory.
In 2011, the painting was sent to Germany for an art exhibition entitled "Side by Side Poland – Germany", which was promoted as part of the 1000 Years of Art and History project of Royal Warsaw Castle in cooperation with the Martin-Gropius-Bau exhibition hall in Berlin. It was on display there between 23 September 2011 and 9 January 2012.
## Significance
This painting is considered among Matejko's most famous works and is also one of his largest canvases. It portrays an event of significant political triumph for Poland, the Prussian Homage, in which Poland was able to enforce its will over Prussia. Prussia later gained independence and turned against the Polish–Lithuanian Commonwealth, becoming one of the nations that divided Poland among them. Matejko's painting was created during the partition period, when independent Poland had ceased to exist, and like many of Matejko's other works, it aimed to remind the Polish people of their most famous historical triumphs.
At the same time, the painting foreshadows the tragedies of the future through the gestures and facial expressions of certain characters. This is visible, for example, in the figures of King Sigismund I the Old and Albrecht Hohenzollern, who is kneeling before him. Sigismund is portrayed as a powerful and majestic figure but not threatening. He treats Albrecht lightly—signifying that this event was only a temporary victory and not a total, lasting domination that crushed his opponent. Albrecht's character is portrayed with many signs of his villainous intent. He kneels on both knees, which a duke should do only in front of a God, not a sovereign. This implies that he does not see Sigismund as a sovereign. He grips his standard strongly, but touches the Bible only lightly. The standard flies on a military lance, implying that Prussia had further military ambitions. Finally, there is a gauntlet on the ground, an implied challenge to Sigismund from Albrecht.
Due to its criticism of Albrecht and the event it portrayed, the painting often is seen as strongly anti-Prussian. While it appears to glorify Poland, it is also critical of the country. Matejko went beyond portraying the glory of a historical event and attempted to convey hints of how the country's history would play out in the future. This event was merely a hollow victory that failed to secure Poland's future. Matejko shows that the homage was an empty gesture and that it was Prussia that exploited it rather than Poland. Nobody in the painting is smiling except a lady of the court who is engaged in idle gossip.
The painting has been the subject of numerous art historical studies and has been reinterpreted through the works of artists such as Tadeusz Kantor. In 1992, the Piwnica pod Baranami cabaret group organized a historical re-enactment of the painting.
## Historical characters in the painting
Matejko depicted many important figures of the Polish Renaissance period including taking the liberty to include at least one who were not actually present at the event. In a similar vein, although the event portrayed took place in 1525, Matejko painted fragments of the Sukiennice in Renaissance style, a form that dates from the year 1555, after a fire which destroyed the building in its original Gothic style. St. Mary's Basilica is visible in the background.
At the center of the painting, Albrecht, Duke of Prussia is kneeling before his maternal uncle King Sigismund I the Old of Poland. Sigismund Augustus is shown here as a 5-year-old boy wearing a red dress, held up by Piotr Opaliński, the court house tutor. Matejko portrayed Józef Szujski, professor of the Jagiellonian University, as Opaliński. Thirty one other political figures contemporary with the event are also depicted, including:
- Behind Albrecht (Albert), Duke of Prussia, are two other German rulers, his brother George, Margrave of Brandenburg-Ansbach with his hat in his right hand and their brother-in-law Frederick II of Legnica, whose face is only partially visible, who both joined Albrecht in the homage.
- In the space between Frederick and Albrecht, was Castellan Łukasz II Górka (the old, bearded man), who was a sympathizer with Prussia.
- Albrecht's advisor, Commander Friedrich von Heydeck is behind the standard, waiting to receive it after the scene is over.
- The Bishop of Kraków, Piotr Tomicki (wearing a bishop's mitre) stands to the right of the King Sigismund.
- The man holding up a sword is Hieronymus Jaroslaw Łaski, a diplomat and nephew of Archbishop Jan Łaski. Both men are shown to the right of the king, at the top of the crowd. Jan is separated from Hieronymous by Bishop Tomicki. Hieronymous is holding the sword with which Albrecht will be knighted stiffly as a warning to the Prussian ruler.
- Duchess Anna Radziwiłł, ruler of Masovia, appears top left. Historically, the Duchess died in 1522 before the event occurred. However, Matejko included her in the painting to emphasize the connection between Masovia and Poland.
- Janusz III of Masovia, the last Duke of Masovia of the Piast line. He died at a very young age in 1526.
- Hedwig Jagiellon, Electress of Brandenburg, who was daughter of Sigismund I the Old and his first wife Barbara Zápolya, and through him a cousin of Albrecht. Her parents planned her marriage to Prince Janusz. The death of the Duke ruined her plans. The character was modeled by Matejko's daughter Beata. She is seen just below Anna Radziwiłł at the top left of the painting.
- Mauritius Ferber, Bishop of Warmia, and Krzysztof Kreutzer, Prussian diplomat, are engaged in discussion just below and to the left of Hedwig. Ferber appears worried and makes a well-hidden gesture to repel evil; Kreutzer tries to calm him.
- Queen Bona Sforza appears center-left. Matejko used his wife Teodora as a model for the Queen.
- Piotr Kmita Sobieński, Grand Marshal of the Crown and governor of Kraków, appears with his right hand raised purportedly a gesture to demand silence and order from the crowd.
- Przecław Lanckoroński, starost of Khmilnyk, appears on horseback in the lower right of the painting. He is a notable military commander and his figure personifies the still-respectable military prowess of the Commonwealth.
- The old mustached man in white above Bishop Ferber and to the left of Duchess Anna is Prince Konstanty Ostrogski, Grand Hetman (top military commander) of Lithuania, Voivode (governor) of Trakai, and Castellan of Vilnius.
- Located to the right of Prince Ostrogski and wearing a helmet is Jan Amor Tarnowski, the governor of Kraków who would later achieve high military office. This portrait was based on Stanisław Tarnowski, a professor of the Jagiellonian University and literary historian who would publish Matejko's biography four years after his death.
- The man taking coins from the tray is Andrzej Kościelecki, treasurer and Court Marshal, who skillfully managed the state finances. Looking proudly, unworried, seeing only victory, he symbolizes the importance and wealth of Polish officials of the period.
- To the right of the large black figure of Opaliński is Krzysztof Szydłowiecki who was one of King Sigismund's chief advisors in matters of foreign affairs. Holding the globus cruciger, he was one of the main political figures in contemporary Polish and Prussian politics and his worried visage questions the honesty of the ceremony.
- Hetman Mikołaj Firlej, Castellan of Kraków, is located between Krzysztof Szydłowiecki and Andrzej Tęczyński. One of many characters with a worried expression, Firlej, a respected military leader, is likely considering the possibility of Prussia growing into a military power.
- Andrzej Tęczyński, Ensign of Kraków, who later became Castellan of Kraków, appears holding the banner in the top right corner. He is having difficulty holding the Polish flag unfolded, which once again foreshadows the troubles ahead.
- Albrecht Goštautas (Olbracht Gasztołd), Chancellor of the Grand Duchy of Lithuania and voivode of Vilnius, is barely visible in the top right of the painting. His presence in the painting is intended to symbolize the wisdom of the king as a legislator.
- Below the king sits Stańczyk. His worried face shows doubt that the homage will mean victory in the long run, and he is making a gesture to repel bad luck.
- In the lower-left corner of the painting holding a document bearing the royal seal, stands Bartolommeo Berrecci, architect who rebuilt Royal Wawel Castle. Next to him is Seweryn Boner, an important burgher and banker. His face is one of the two self-portraits of Jan Matejko. The second is the face of the royal jester Stańczyk. As Berrecci, Matejko portrayed himself as a gray eminence, dominating the scene, with a royal scepter in his hand.
### Generic characters of some significance
Some generic characters of minor importance were also depicted by Matejko in the painting. The following personages are:
- An old Teutonic soldier is shown under Hedwig; he signifies the end of the Teutonic Order.
- Underneath the soldier at the bottom of the painting, an executor or a city guard keeps watch on the crowd, ensuring no unrest will disrupt the proceedings.
- At the top of the painting, a dove symbolizing peace can be seen. | [
"## History",
"## Significance",
"## Historical characters in the painting",
"### Generic characters of some significance"
] | 2,892 | 14,736 |
224,928 | Burns, Baby Burns | 1,169,077,017 | null | [
"1996 American television episodes",
"The Simpsons (season 8) episodes"
] | "Burns, Baby Burns" is the fourth episode of the eighth season of the American animated television series The Simpsons. It originally aired on the Fox network in the United States on November 17, 1996. In the episode, Mr. Burns reunites with his long-lost son Larry. At first, they get along well, but Mr. Burns soon realizes that his son is an oaf. The episode was directed by Jim Reardon and is the first one written by Ian Maxtone-Graham. The episode guest starred Rodney Dangerfield as Larry Burns.
## Plot
After attending the annual Harvard–Yale football game, Mr. Burns and Waylon Smithers take a train back to Springfield. When the train makes an unexpected stop, a man named Larry approaches them selling souvenirs. Seeing Burns, he compares his face with an old photo and notes the resemblance. Suddenly, the train pulls away, leaving Larry behind. While on their way home from visiting a cider mill, the Simpsons see Larry hitchhiking and give him a ride. They take him to Burns' mansion where Larry reveals that he is the old man's son.
After finding the birthmark that confirms that Larry is his son, Burns admits that Larry was the result of a one-night stand with the daughter of a former flame named Lily Bancroft at a college reunion. At first, he is overjoyed to have a son and treats him as his protégé. He takes him to fancy parties and tries to enroll him at Yale, but Larry's oafish behavior embarrasses him. Larry starts working alongside Homer in Sector 7G at the Springfield Nuclear Power Plant, and they become friends. Larry invites Homer to dinner at the mansion. No longer able to contain his displeasure at Larry's boorishness, Burns says that he wishes he had no son.
After Homer convinces Larry to fake a kidnapping so that Burns will admit that he loves his son, he moves into the Simpsons' basement. Homer tells Burns that he can have Larry back if he admits that he loves him. Marge discovers the plan and convinces Homer and Larry to abandon it, but they are spotted by Kent Brockman's news helicopter as they leave the house.
Homer and Larry run around town avoiding the police and looking for a place to hide. They first run to what appeared to be an abandoned warehouse only to find people working in there. Homer and Larry then run into a costume shop. As two people dressed as a gorilla and an organ grinder emerges, the owner finds Homer and Larry in the bathroom as he tells them to either buy a costume or get out. Homer and Larry then run into the Aztec Theater which is showing Too Many Grandmas starring Olympia Dukakis and Bo Derek. Their antics start to annoy Hans Moleman who literally takes their sarcasm of calling the police. When the police and Kent Brockman arrive, the rest of the family arrive after seeing simulations of Homer being harmed in different ways. Homer and Larry climb atop the movie theater and have a brief standoff with the police.
Homer gives a heartfelt speech to justify Larry's actions and Burns forgives them for the hoax, but explains he cannot be the family whom Larry needs. Larry understands and reveals he has a wife and children back home who are probably worried about him. After Burns and Larry say their goodbyes, a party spontaneously breaks out in front of the cinema at Larry's incitement.
## Production
Ian Maxtone-Graham wrote the episode, and it was his first writing credit for The Simpsons, although he had served as a consultant on the show for several months. Maxtone-Graham had previously worked with showrunners Bill Oakley and Josh Weinstein on a game show and the two had wanted to hire him as a writer on The Simpsons. The episode started out as a story about Mr. Burns and Grampa both being stationed in Paris during World War II and falling in love with the same woman, who had a love child. Maxtone-Graham had wanted this episode to be about Burns having a child, which is where it went. The other episode idea became "Raging Abe Simpson and His Grumbling Grandson in 'The Curse of the Flying Hellfish', which aired in the previous season. The episode opens with the family visiting Mt. Swartzwelder Historic Cider Mill (a reference to fellow writer John Swartzwelder) because the writers had wanted to do something involving autumn and a cider mill seemed like a good setting for that.
Rodney Dangerfield guest stars in this episode and was a huge favorite of many of the show's writers. Many of the jokes in the episode were specifically written to be "Dangerfield jokes", which were much tougher to write than the staff had originally thought. Dangerfield made a few key changes to his script during the recording of his part; Weinstein kept the annotated script and pen and considers them among his three most prized The Simpsons possessions. Designing Larry Burns was a challenge because the director had wanted him to look like Dangerfield but still have Burns' characteristics such as the pointed nose.
## Cultural references
The title of the episode references a line in the Trammps song "Disco Inferno" ("Burn, baby, burn.") After discovering that Larry Burns is also working in Sector 7G, Homer frantically cleans up and puts away an almost entirely assembled jigsaw puzzle which has an image of Snoopy the dog lying on his doghouse. The puzzle is missing several pieces over where Snoopy's nose should be, which was intentionally drawn that way to avoid infringing copyright laws. The character from Yale that Mr. Burns briefly talks to is based on the fictional character Dink Stover from the book Dink Stover at Yale by Owen Johnson. The episode contains several references to the film Caddyshack in which Dangerfield stars, such as the scene where Larry tries to fit in with Mr. Burns' associates. The final street party, which features the song "Any Way You Want It" by Journey (also featured in Caddyshack), also parodies the way that several films, including Caddyshack, end. The episode ends at a movie theater, which is a reference to several famous criminals who were involved with theatres, such as John Dillinger, Lee Harvey Oswald, and John Wilkes Booth.
## Reception
In its original broadcast, "Burns, Baby Burns" finished 64th in ratings for the week of November 11–17, 1996, with a Nielsen rating of 7.7, equivalent to approximately 7.5 million viewing households. It was the fourth-highest-rated show on the Fox network that week, following The X-Files, Melrose Place, and Beverly Hills, 90210.
The authors of the book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, Warren Martyn and Adrian Wood, called it "[a] fun episode, with Rodney Dangerfield putting a lot of pathos into Larry – and Homer's impassioned speech atop the cinema at the climax is one of his funniest moments." | [
"## Plot",
"## Production",
"## Cultural references",
"## Reception"
] | 1,454 | 19,860 |
63,148,294 | Robert Ludwig Kahn | 1,171,496,010 | German-American scholar | [
"1923 births",
"1970 deaths",
"1970 suicides",
"American people of German-Jewish descent",
"Dalhousie University alumni",
"Emigrants from Nazi Germany",
"Germanists",
"Immigrants to Canada",
"Immigrants to the United Kingdom",
"Immigrants to the United States",
"Kindertransport refugees",
"People with acquired American citizenship",
"Rice University faculty",
"Suicides in Texas",
"University of Toronto alumni",
"University of Washington faculty",
"Writers from Nuremberg"
] | Robert Ludwig Kahn (April 22, 1923 – March 22, 1970) was a German-American scholar of German studies and poet. He grew up in Nuremberg and Leipzig as the son of Jewish parents who sent him abroad to England on a Kindertransport in 1939. After the end of World War II, Kahn learned his parents had perished in the Holocaust, which was a traumatic experience that caused him to lose his faith. He never recovered from survivor guilt.
After internment as an enemy alien on the Isle of Man and in Quebec, Canada, he was able to study at Dalhousie University with the help of a Halifax couple. He then obtained a PhD in German literature from the University of Toronto in 1950. Kahn's research interests were German literature in the Age of Goethe and Romanticism, and he was one of the editors of Georg Forster's works. Kahn held academic positions in German studies at the University of Washington and later as professor of German at Rice University from 1962, where he served as department chairman for several years until shortly before his 1970 suicide.
Kahn's poetry was not widely read during his lifetime. A collection of his German-language poetry was published in 1978, edited by his widow, the poet Lisa Kahn.
## Early life and education
Kahn was born as Ludwig Robert Kahn in Nuremberg, the second child of Beatrice (née Freudenthal, 1896–1943) and Gustav Kahn (1884–1942), a Jewish businessman. He was educated at a Jewish school in Nuremberg from 1929 to 1933, then from 1933 to 1939 at the Höhere Israelitische Schule [de] (later named after its founding director Ephraim Carlebach), the Jewish gymnasium in Leipzig. Kahn's parents moved to Leipzig, which had a large Jewish community, as life in Nuremberg was becoming increasingly unbearable for Jews. However, they were not free from Nazi persecution. In 1938, Kahn's older sister, Susan Freudenthal (née Gertrud Suse Kahn, 1920–2016), emigrated to the United States, aided by her uncle, Josef Freudenthal, who was unable to pay for Kahn's emigration. Following the mass arrests after Kristallnacht in November 1938, Gustav Kahn was imprisoned at Buchenwald and Sachsenhausen concentration camps, and released again in February 1939.
Kahn's family attempted to escape from Germany, but their plans to emigrate to the United States failed. On May 10, 1939, Kahn was sent to England with a Kindertransport. He attended Kendra Hall School in Croydon from 1939 to 1940 and West Ham Municipal College in 1940. After World War II began, Kahn's mother was no longer able to support him financially, so he worked in a tannery. He was interned in a camp on the Isle of Man as an enemy alien, then sent on to a camp on the Île aux Noix in Quebec, Canada. He was able to take classes in this camp, and passed the Junior and Senior Matriculations at McGill University in 1941 and 1942, respectively. Around this time, he changed the order of his names, calling himself "Robert". A Halifax Jewish couple took him in and gave him the opportunity to pursue university studies. He studied at Dalhousie University and obtained his BA in 1944 and his MA (in history and philosophy) in 1945, his thesis titled Goethe and the French Revolution. At Dalhousie, he was awarded the Avery Distinction and the Joseph Howe Poetry Award.
From 1945 to 1948, Kahn studied German Literature and Philology at the University of Toronto, and received a doctoral degree in German Literature in February 1950, with a thesis about dramatist August von Kotzebue. His advisor was the Swiss-Canadian Germanist Hermann Boeschenstein.
## Academic career and research interests
Kahn worked at the University of Washington in Seattle from 1948 to 1962, starting as Acting Instructor of German Language and Literature, becoming Assistant Professor in 1955 and Associate Professor in 1960. In 1961–1962, he held a fellowship of the Alexander von Humboldt Foundation for research at the Deutsches Literaturarchiv Marbach in Marbach am Neckar. During this time, he and his family lived in Stuttgart and became friends with Jewish literary scholar and philosopher Käte Hamburger. From 1962 until his death in 1970, Kahn was Professor of German at Rice University in Houston, Texas, where he served as Chairman of the Department of Foreign Languages in 1963–64 and as Chairman of the Department of Germanics from 1964 until 1970, when he was replaced after controversy on his leadership, related to political disagreements with colleagues. In February 1970, Kahn was offered a professorship at the University of Florida, but declined the post because he felt he could not leave his students at Rice.
Kahn's main research topics were German literature in the age of Goethe and in the Romantic Era. He published articles about authors such as Friedrich Schlegel, Ludwig Tieck, Novalis and about themes like the concept of Romanticism. Interested in travel writing, he wrote about Johann Gottfried Seume's travels to England. He also edited the first volume of the East German Akademie-Verlag's edition [de] of the works of world traveler and revolutionary Georg Forster, A Voyage Round the World, and contributed to the fourth volume, which included related content. At the time of his death, he was contributing to Ernst Behler's edition of Friedrich Schlegel's letters, part of the Kritische Friedrich-Schlegel-Ausgabe, a critical edition of Schlegel's works.
Kahn's students include Wolfgang Justen, Marianne Kalinke, Hanna Lewis, Gertrud Bauer-Pickar, and Egon Schwarz [de].
## Personal life and death
During World War II, Kahn was in contact with his sister in Cincinnati and with family in New York, but had neither contact with nor information on his family in Germany. After World War II ended, he learned that both of his parents had perished in the Holocaust either by suicide or after deportation to an extermination camp: Kahn's father died on March 27, 1942, ingesting sleeping pills when the Nazis had taken his two sisters. Kahn's mother was deported to Auschwitz in February 1943 and was murdered there on February 26, 1943. Kahn had been very attached to his mother, and the news of her death was devastating. Kahn lost his religious faith and could never overcome the trauma of his survivor guilt.
In 1951, Kahn married Lieselotte Margarete Kupfer (1921–2013), who gained fame as Lisa Kahn, a poet and scholar of German studies. Lisa had spent the 1950–51 academic year at the University of Washington in the Fulbright Program. They had two children: Peter G. Kahn (born 1953) and Beatrice Margarete Kahn (born 1959). Robert Kahn became a US citizen in 1956, Lisa in 1958.
Kahn took his own life on March 22, 1970, on his ranch in Round Top, Texas, shortly after the beginning of spring break. In the Biographisches Handbuch der deutschsprachigen Emigration nach 1933–1945 (Biographical handbook of German-speaking emigration after 1933-1945), Kahn's suicide has been connected to defamation by adversarial Rice University faculty members, while literary scholar Klaus Beckschulte also cited his inability to recover from survivor guilt. His widow later described Kahn's "deep depression" as related to two great disappointments: the lack of success of his poetry and strong disagreements with his colleagues, and stated he was torn between feelings of love (especially for his mother), hate, and guilt.
## Poetry
Kahn had been writing since his student days, winning a prize for his poetry at Dalhousie. He wrote additional poems in German, but was disappointed by their critical reception and his difficulties in publishing them. Some of Kahn's poems were published during his lifetime in both German and American magazines, and his nürnberg wunderschöne stadt. ein zyklus, described as reminiscent of Paul Celan's Todesfuge, was broadcast on the German radio station Saarländischer Rundfunk in 1968. Kahn was invited to the 1966 meeting of Group 47 in Princeton and read some of his poems there with other authors including Erich Fried, Günter Grass, and Walter Jens. Kahn's reading came shortly after Peter Handke's famous speech, which dominated the meeting and there was subsequently very little interest in Kahn's poetry, to his great frustration. While he managed to talk to influential literary critic Marcel Reich-Ranicki, the latter was only interested in Handke. A collected edition of Kahn's poems, Tonlose Lieder (Songs without music), edited by Lisa and illustrated by Peter Kahn, was published in 1978. Besides his own poetry in German, Kahn also translated poems of Goethe and Nelly Sachs into English.
The annual poetry prize of the Society for Contemporary American Literature in German was named after Robert L. Kahn from 1988 to 2013, when it was renamed the Lisa & Robert Kahn Prize for Poetry in German. | [
"## Early life and education",
"## Academic career and research interests",
"## Personal life and death",
"## Poetry"
] | 2,002 | 19,918 |
19,052,492 | SS Ohioan (1914) | 1,153,495,594 | 1914 cargo ship | [
"1914 ships",
"Cargo ships of the United States Navy",
"Maritime incidents in 1933",
"Maritime incidents in 1936",
"Maritime incidents in 1937",
"Ships built in Sparrows Point, Maryland",
"Shipwrecks of the California coast",
"World War I auxiliary ships of the United States",
"World War I merchant ships of the United States"
] | SS Ohioan was a cargo ship built in 1914 for the American-Hawaiian Steamship Company. During World War I, she was taken over by the United States Navy and commissioned as USS Ohioan (ID-3280).
Ohioan was built by the Maryland Steel Company as one of eight sister ships ordered by the American-Hawaiian Steamship Company for inter-coastal service cargo via the Panama Canal. When the canal was temporarily closed by landslides in late 1915, Ohioan sailed via the Straits of Magellan until the canal reopened in mid 1916. During World War I, USS Ohioan carried cargo, animals, and a limited number of passengers to France, and returned over 8,000 American troops after the Armistice, including the highly decorated American soldier Alvin York. After Ohioan's naval service ended in 1919, she was returned to her original owners.
Ohioan's post-war career was relatively uneventful until 8 October 1936, when she ran aground near Seal Rock at the Golden Gate, the entrance to San Francisco Bay. Attempts to free the ship were unsuccessful and, because of the close proximity of the wreck to San Francisco, the grounded Ohioan drew large crowds to watch salvage operations. Angelo J. Rossi, the mayor of San Francisco, toured the wreck on 19 October. Ohioan's hulk caught fire in March 1937, and the wreck broke into two pieces in a storm in December. As late as 1939, some of Ohioan's rusty steel beams were still visible on the rocks.
## Design and construction
In May 1912, the American-Hawaiian Steamship Company placed an order with the Maryland Steel Company of Sparrows Point, Maryland, for two new cargo ships—Iowan and Ohioan. The contract cost of the ships was set at the construction cost plus an 8% profit for Maryland Steel, but with a maximum price of \$640,000 per ship. Maryland Steel financed the construction with a credit plan which called for a 5% down payment in cash followed by nine monthly installments for the balance. The deal allowed for some of the nine installments to be converted into longer-term notes or mortgages. The final cost of Ohioan, including financing costs, was \$73.58 per deadweight ton, which came out to just under \$730,000.
Ohioan (Maryland Steel yard no. 133) was the second ship built under the contract. She was launched on 24 January 1914, and delivered to American-Hawaiian on 30 June. The ship was 6,649 gross register tons (GRT), and was 407 feet 7 inches (124.23 m) in length (between perpendiculars) and 53 feet 8 inches (16.36 m) abeam. She had a deadweight tonnage of , and her cargo holds, which had a storage capacity of 438,154 cubic feet (12,407.1 m<sup>3</sup>), were outfitted with a complete refrigeration plant so that she could carry perishable products from the West Coast—such as fresh produce from Southern California farms—to the East Coast. Ohioan had a single steam engine powered by oil-fired boilers that drove a single screw propeller at a speed of 12 knots (22 km/h).
## Early career
When Ohioan began sailing for American-Hawaiian, the company shipped cargo from East Coast ports via the Straits of Magellan to West Coast ports and Hawaii, and vice versa. Eastbound shipments were primarily sugar and pineapple from Hawaii, but westbound cargoes were more general in nature. Following the opening of the Panama Canal on 15 August 1914, American-Hawaiian ships switched to take that route.
As World War I continued in Europe and increased the demand for defense-related shipping, American-Hawaiian stopped its sugar service. Ohioan's specific activities during this time are not known. She may have been in the half of the American-Hawaiian fleet that was chartered for transatlantic service, or she may have been in the group of American-Hawaiian ships chartered for service to South America, delivering coal, gasoline, and steel in exchange for coffee, nitrates, cocoa, rubber, and manganese ore.
## World War I
Unlike her surviving sister ships, there is no evidence that Ohioan was ever chartered by the United States Army; Ohioan's activities between the United States' declaration of war on Germany in April 1917, and her acquisition by the United States Navy on 5 August 1918, are unknown. She was commissioned into the Naval Overseas Transportation Service (NOTS) two days later, under a loan charter. After a refit and taking on a load of cargo, Ohioan sailed for Saint-Nazaire, France, where she arrived on 29 August. Dividing the next month between that port and Brest, Ohioan sailed for New York on 1 October. Fitted there with horse stalls, she loaded 60 officers and men, and equestrian and general cargo, before sailing on 1 November for La Pallice.
With the signing of the Armistice on 11 November the fighting came to an end, and the task of bringing home American soldiers began almost immediately. Upon her return to the United States on 5 December, Ohioan was selected to become a troop transport and transferred from the NOTS to the Cruiser and Transport Force. Before she could begin returning troops, Ohioan had to be converted from a cargo and animal ship. Although sources do not indicate the specific modifications Ohioan underwent, typical conversions for other ships included the installation of berths, and adding greatly expanded cooking and toilet facilities to handle the large numbers of men aboard. Similar modifications on Ohioan's sister ship Minnesotan took three months, but it is not known how long Ohioan's refit took.
In March, Ohioan returned 1,627 men to New York, mostly from the 348th Infantry Regiment of the U.S. 87th Infantry Division, followed by another 1,596 officers and men, and 1,000 homing pigeons on 16 April. Among the pigeons was Cher Ami—the only bird sent out by the Lost Battalion that was able to get a message through—and 100 captured German pigeons. Cher Ami had received the French Croix de Guerre with Palm and had been recommended for the U.S. Army Distinguished Service Cross by General John J. Pershing.
Ohioan docked at New York on 22 May on her next voyage with a portion of the 328th Infantry Regiment of the 82nd Division. One of the members of the unit was Sergeant Alvin C. York, who had led an attack on a German machine gun nest during the Meuse-Argonne Offensive and captured 132 German officers and men. York had been honored with the U.S. Medal of Honor and the French Croix de Guerre with Palm (among other awards), both of which he wore on his coat on arrival at New York. After Ohioan docked, York held a well-attended press conference on board.
On 20 June, Ohioan returned another load of troops that included Base Hospital 98, and the 20th Engineers. By the time Ohioan had completed her sixth and final trooping voyage on 16 September 1919, Ohioan had carried home 8,383 healthy and wounded men. USS Ohioan was decommissioned on 6 October 1919, and returned to American-Hawaiian.
## Later career
Ohioan resumed cargo service with American-Hawaiian after her return from World War I service. Although the company had abandoned its original Hawaiian sugar routes by that time, Ohioan continued inter-coastal service through the Panama Canal relatively uneventfully for the next 17 years. On 23 November 1933, Ohioan collided with Liberty in the Ambrose Channel. She was consequently beached near the West Bank Light. Ohioan was refloated on 26 November.
In early morning hours of 8 October 1936, Ohioan ran aground near Seal Rock on the south shore of the Golden Gate, just outside San Francisco Bay. The ship, sailing in a dense fog, strayed too close to shore and grounded on the rocks, sending a shower of sparks that lit up the night. When the fog cleared later in the morning, the ship was firmly seated on the rocks at the base of a 250-foot (76 m) cliff, and some 300 feet (91 m) from the mainland. Coast Guardsmen on shore attached three lines to the ship and set up a breeches buoy to take off the harbor pilot, but the crew stayed on board the ship in hopes that the high tide would free her from the rocky perch. As word of the shipwreck spread, spectators clambered over the cliff to get a view of the scene; one man died from a heart attack and two women broke ankles in separate falls. Newsboys soon arrived on the scene, selling newspapers telling of Ohioan's woe within sight of the stranded ship. Policemen were called out to keep order as the crowd grew into the thousands.
The next day, as the seas battered the ship and drove her farther on the rocks, two Coast Guard boats took 31 men from the ship. American-Hawaiian announced that a Los Angeles salvage firm had been hired to retrieve the 1,500-long-ton (1,520 t) cargo, which included explosives and oil. Two heavy-duty electric pumps were lowered to the ship via the breeches buoy, and plans were drawn up for connecting them to the San Francisco municipal electric system in order to pump out the ship.
The crowds of onlookers continued to watch as salvage efforts progressed; a 75-year-old woman from Oakland fell down the embankment while watching the action on 13 October. The mayor of San Francisco, Angelo J. Rossi, rode the breeches buoy to the ship and toured it for 45 minutes on 19 October. On 22 October, the Los Angeles Times ran an Associated Press story saying that marine experts were considering the use of a method first patented by Abraham Lincoln in May 1849 in order to re-float the stranded ship. All efforts were unsuccessful, and by 31 October, American-Hawaiian placed an advertisement in the Los Angeles Times requesting bids for the purchase of the ship and her cargo "as and where she now lies ... on the rocks near Point Lobos, San Francisco". E. J. Mitchell was the winning bidder, securing rights to the ship and its cargo for \$2,800.
In March 1937, five months after the wreck, the hulk of Ohioan—still aground near Seal Rock—caught fire when a watchman aboard the ship attempted to burn some meat in a refrigerator. The flames died out before reaching the explosives that remained aboard the wreck. A Pacific storm in December the same year caused the hulk of Ohioan to break in two. By 1939, only remnants of some of Ohioan's rusty steel beams were still visible on the rocks.
Author Mark Ellis Thomas suggests that English poet and novelist Malcolm Lowry may have been inspired by the wreck of Ohioan in his poem "In Tempest's Tavern". One excerpt from the poem refers to "The Ohio [sic] smoking in Frisco on a sharp pen / Of rock". At the time of Ohioan's grounding, Lowry was in San Diego, preparing to sail to Acapulco. | [
"## Design and construction",
"## Early career",
"## World War I",
"## Later career"
] | 2,388 | 43,114 |
31,266,998 | Corbin Sharun | 1,139,650,805 | Canadian football player (born 1988) | [
"1988 births",
"Calgary Stampeders players",
"Canadian Junior Football League players",
"Canadian football defensive backs",
"Canadian football people from Edmonton",
"Edmonton Elks players",
"Living people",
"Players of Canadian football from Alberta",
"St. Francis Xavier X-Men football players"
] | Corbin Sharun (born September 6, 1988) is a professional Canadian football defensive back and special teams specialist who is currently a free agent. He was drafted by the Edmonton Eskimos in 2010, where he played for five seasons. He played college football for the St. Francis Xavier University X-Men and junior football for the Edmonton Wildcats.
## Early career
Sharun was born in Edmonton, Alberta. He played high school football at Strathcona Composite High School as a quarterback, winning three consecutive city championships. He continued as a quarterback for the X-Men at St. Francis Xavier University from 2006 to 2007. In his freshman year, Sharun started three games before serving as a backup for the majority of his remaining time there. After discovering his father had colon cancer in early 2008, Sharun returned home and joined the Edmonton Wildcats of the Canadian Junior Football League. where he switched to the safety position. The Edmonton Sun reported that he took on a defensive role to increase his likelihood of playing professionally. While with the championship-winning Wildcats in 2009, Sharun was named an All-Canadian. He accumulated 25 tackles, five interceptions (including one returned for a touchdown), and a fumble recovery in his final year with the Wildcats.
## Professional career
### Edmonton Eskimos
Sharun was selected by the Edmonton Eskimos in the sixth round of the 2010 CFL Draft before that year's season with the 43rd overall pick. The Eskimos signed Sharun to a three-year contract with an option for a fourth year on May 4, 2010.
Sharun participated in training camp with the Eskimos in 2010 and practiced with the first team as a safety, but was moved to the practice squad when the team was reduced to 46 players. The Eskimos went on to transfer Sharun between the active and practice rosters several times throughout the year. He made his CFL debut on July 11, 2010 against the Montreal Alouettes, and later recorded his first special teams tackle on August 6 against the Toronto Argonauts. In a game against the Saskatchewan Roughriders on August 28, Sharun blocked a punt to set up the Eskimos' only touchdown along the way to scoring 17 unanswered points to win 17–14. In his rookie season, Sharun recorded 16 special teams tackles while playing in 15 regular season games, along with one defensive tackle.
Sharun played in all 18 games throughout the regular season of 2011. Cementing his role as a special teams player, Sharun made 25 special teams tackles in the regular season, tying the team's single-season record previously held solely by Bruce Dickinson. His franchise record was later broken by Deon Lacey in 2014. He recorded the second highest total of special teams tackles in the CFL, leading the West division in that category. Playing against the Hamilton Tiger-Cats on July 9, 2011, Sharun recorded a career-high four tackles. He made one special teams tackle during the playoffs. The Eskimos finished the season with a winning record of 11–7 and finished second in the West division. The Calgary Stampeders lost the West Finals to the BC Lions, eventual Grey Cup champions. Sharun was active in both playoff games.
Sharun played in 13 regular season games and registered 13 special teams tackles during the 2012 season. He was placed on the six-game injured list in October. In a September 7 game against the Stampeders, Sharun caught an unlikely pass from third-string quarterback and holder Matt Nichols following a failed field goal snap and ran 35 yards for both players' first career touchdown.
In the 2013 CFL, Sharun played in 11 games and recorded 14 special teams tackles, including three total tackles in the September 6 game against the Stampeders. He began the season on the practice roster after being cut when the Eskimos reduced their roster to 46 players, but returned to the active roster on July 12.
Sharun achieved nine special teams tackles over 13 games during the 2014 season. He also played in two playoff matches, recording an additional tackle. Sharun was placed on the injured list several times during the 2014 season, including a transfer to the six-game injured list in September. Following the 2014 season, Sharun was signed to a contract extension by the Eskimos but was released prior to the start of the regular season in 2015.
### Calgary Stampeders
The Calgary Stampeders signed Sharun to their practice roster on July 28, 2015, where he remained for most of the season. He was activated for the West Final following an injury to Karl McCartney. In a loss at the West Final, Sharun made three special-teams tackles against his former team, the Eskimos. On June 19, 2016, Sharun was released by the Stampeders.
## Statistics | [
"## Early career",
"## Professional career",
"### Edmonton Eskimos",
"### Calgary Stampeders",
"## Statistics"
] | 1,025 | 23,756 |
44,982,321 | 1887 Taunton by-election | 1,081,827,694 | UK parliament by-election | [
"1887 elections in the United Kingdom",
"1887 in England",
"19th century in Somerset",
"April 1887 events",
"By-elections to the Parliament of the United Kingdom in Somerset constituencies",
"History of Taunton"
] | The 1887 Taunton by-election was held on 23 April 1887 in Taunton, Somerset, following the succession of the incumbent, Samuel Charles Allsopp, to the peerage upon the death of his father, becoming 2nd Baron Hindlip. One of Lord Hindlip's brothers, Alfred Percy Allsopp, stood for the Conservative Party, while James Harris Sanders was the candidate for the Liberal Party. Allsopp was elected, with a majority of 536 votes (23.1%).
Although they had considered not contesting the election because the area was a Conservative stronghold, the Liberals decided to do so in order to generate a discussion on the issue of Home Rule for Ireland. Allsopp was in agreement with the Conservative policy, which was to maintain full governmental control over Ireland, and pass further Coercion Acts to reduce lawlessness in that country. Sanders, who had lost two previous elections for the Liberal Party, was in favour of devolution of powers to Ireland.
## Background
### Vacancy and nominations
At the 1886 general election, Samuel Allsopp held his seat in parliament unopposed for the Conservative Party. In April 1887, his father, Henry Allsopp, 1st Baron Hindlip, died. As a result of this, Samuel Allsopp succeeded, entering the House of Lords as a peer. This left the parliamentary constituency of Taunton vacant. The Conservative Party offered Samuel Allsopp's brother, Alfred Percy Allsopp (commonly known as Percy Allsopp) the chance to contest the vacancy. Initially it was reported that the Liberal Party would not contest the seat if Percy Allsopp was the only Conservative candidate, but a meeting of the local executive could not reach a consensus: some believed that as the area was so strongly Conservative, a large loss would be damaging to the party, while others wanted to generate a debate on Home Rule. Despite the Taunton executive of the Conservative Party selecting Percy Allsopp as their preferred candidate, the town's Mayor, Samuel Farrant, declared that he would also stand for the Conservatives, which led to concern within that party that a split of the votes could result in a Liberal candidate being elected. Farrant later withdrew his candidacy, leaving Allsopp as the Conservative's sole representative. After their initial uncertainty, the Liberals opted to give the Taunton electorate the opportunity to show their views on Home Rule, and chose James Harris Sanders, of London, as their candidate.
### Candidates
Alfred Percy Allsopp was the seventh, and youngest, son of Henry Allsopp, 1st Baron Hindlip, and at the time of the election, was resident in Lichfield, Staffordshire. He often accompanied his brother during his time in office in Taunton, and had occasionally represented him in the town. The Taunton Courier noted that at one dinner, he "made a great impression by the perspicacity of his utterances, by the breadth of view they indicated, and by his fluency of speech." He was a partner in Samuel Allsopp & Sons, which along with Guinness and Bass was one of the largest brewers in the world.
James Harris Sanders, commonly Harris Sanders, was born in Tavistock, Devon, the second son of Richard Sanders. Sanders had previously stood in the 1886 general election in Harborough, South Leicestershire, and in the King's Lynn by-election in the same year, losing both. The Western Times described him as "an unexceptionable candidate", while the Taunton Courier elaborated on his past election performances, and commented that he was "becoming accustomed to acting as a political ninepin".
### Home Rule
Home Rule was the key issue in British politics in the late 1880s. The debate revolved around granting Ireland more powers to govern themselves. William Ewart Gladstone, the Liberal Prime Minister, proposed the First Home Rule Bill in April 1886, aiming to devolve power to Ireland. The Conservatives were opposed to the Bill, and were joined by a number of Liberal members in defeating the Bill. This caused a split in the Liberal party, the creation of the Liberal Unionist Party, and a fresh general election, just a year after the last. At the 1886 general election, the Conservatives entered government with Lord Salibsury as Prime Minister. They formed a majority with the Liberal Unionists.
## Election campaign
At the Conservative Assembly meeting at which Allsopp was formally nominated as the party's candidate, one of his nominators, Mr J. Standfast, decried the situation in Ireland. He called upon the people of Taunton to show that they "disapproved of the murders, and robberies, and outrages which were so common in Ireland, and were not prepared to hand over to the instigators of those crimes the government of that island." Allsopp did not initially campaign heavily, while he grieved for his father, but he did leave an advert in the Taunton Courier stating his support for the Conservative government's position on the administration of Ireland. He noted that his views mirrored those of his brother, the previous MP. During his campaigning, Allsopp drew parallels between the 1881 Coercion Bill, which Gladstone had introduced, with the proposed Crimes Bill, which Gladstone and Sanders both opposed. He accused them of hypocrisy, and claimed that those in support of Home Rule did not understand what it meant. He spoke of his hope for the Crimes Bill to be passed, and his belief that it would end the "misery and distress" in Ireland.
At Sanders' nomination, the Liberal candidate spoke of his "entire concurrence" with Gladstone's proposals. At a meeting shortly thereafter, Sanders seconded a resolution raised by a fellow Liberal member protesting "against the attempt to impose coercion upon Ireland for ever." Sanders then highlighted the Corrupt Practices Act, and appealed to the party members to not only avoid engaging in any corruption, but to remain honourable at all times. He spoke at length about the virtues of Liberalism, and what he described as the sad history of Ireland under English rule. The following Monday, which was Easter Monday, Sanders travelled to London to take part in demonstrations against the Perpetual Crimes Bill. As the election drew close, Sanders issued a statement that he had deposited £1,500 in a local bank, of which £500 would be split as rewards if people presented evidence of bribery and corruption in the election that led to a conviction. The other £1,000 was set aside for a possible petition against the election result.
The two sides both adopted mottoes during the election: the Conservatives called for people to "Vote for Allsopp and liberty", while the Liberals used "No Coercion, vote for Sanders." Cartoons were distributed by the Liberals, illustrating the recent evictions in Ireland. In reaction, the Conservatives posted pictures of "brutal outrages" that had been recently committed in that country.
## Result
The vote was held on Saturday 23 April 1887, with the booths open for twelve hours from eight in the morning. There were seven polling stations across Taunton, which was busy as it was market day. The Taunton Courier reported that party colours of both sides were on display, but that there was more "Conservative blue" than the tri-colour and Union Jack of the Liberals. Campaigning continued throughout the day, but was conducted in a civil manner. Two hours into the voting it was announced that a third of the constituency had voted, and the Conservatives declared that they were leading by a ratio of two to one. Bad weather in the middle of the day caused a lull in the voting, but the polls were very busy throughout the afternoon when the weather cleared, as most of the town only worked half of the day. Based upon their polling on the day, the Conservatives continued to claim victory during the afternoon. The votes were counted in the Municipal Office, and the results were announced at quarter-past nine in the evening. Allsopp received 1,426 votes to Sanders' 890, granting him a 536 majority. Both Allsopp and Sanders spoke briefly to praise the Returning Officer, and Allsopp was then called upon to give a speech. During that speech, Allsopp thanked the people of Taunton, and gently mocked Sanders for the money he had banked in case of corruption.
## Aftermath
Despite initial suggestions that a petition would be lodged against the result by Sanders, including a strong assertion in the Pall Mall Gazette, such a petition was eventually abandoned. Allsopp entered parliament, becoming the 18th new Member of Parliament to be elected since the general election in 1886. Allsopp served as the Member for Taunton until the 1895 general election. | [
"## Background",
"### Vacancy and nominations",
"### Candidates",
"### Home Rule",
"## Election campaign",
"## Result",
"## Aftermath"
] | 1,821 | 21,096 |
24,256,364 | Lego Bionicle: Quest for the Toa | 1,161,827,315 | 2001 video game | [
"2001 video games",
"Action-adventure games",
"Bionicle video games",
"Game Boy Advance games",
"Game Boy Advance-only games",
"Multiplayer and single-player video games",
"Video games developed in the United States",
"Video games set on fictional islands"
] | Lego Bionicle: Quest for the Toa (also known as Lego Bionicle and originally titled Lego Bionicle: Tales of the Tohunga) is a 2001 action-adventure game developed by Saffire and published by Lego Software for the Game Boy Advance. Based on the Lego Group's Bionicle line of constructible action figures, the game follows Takua, a villager on the island of Mata Nui, on a quest to rescue the island's Turaga elders and summon the Toa, heroic elemental warriors destined to defeat the evil Makuta.
The game incorporates elements of platform games and takes an isometric perspective; the player traverses through 20 levels, divided among the six elementally-themed regions of the island of Mata Nui. After completing each world, a minigame is unlocked that can be played in single-player or multiplayer. Quest for the Toa was originally designed to be a prequel to Lego Bionicle: The Legend of Mata Nui, a planned PC title developed by Saffire that would ultimately be canceled shortly before release. During development, the game's name was changed from Tales of the Tohunga to Quest for the Toa due to complaints from the Māori people of New Zealand. Upon its release, Quest for the Toa received mostly negative reviews from critics, with many criticizing its controls and gameplay. Conversely, praise was directed towards the minigames and graphics.
## Gameplay
Lego Bionicle: Quest for the Toa has been described as an action-adventure game and a platformer. The game adopts an isometric perspective and progresses through a series of linear levels. The game features six worlds in total and over 20 levels; a minigame is unlocked after the completion of each world. Within each world is a village; the player can interact with non-playable characters in each, learning information and additional moves.
Prior to the start of the game, the color of the head, arms, and legs of the playable character can be customized. The player controls Takua, a villager on the island of Mata Nui. As Takua, the player has access to a range of abilities: jumping, throwing objects, pushing stones, and using tools. The player can choose which tools to equip and assign them to the button of their choice in the pause menu. Health and item uses can be replenished by gathering fruit and berries scattered across the world, and some fruit can be used as projectiles. Projectiles are the primary method of defeating the enemies, which populate the game's worlds.
## Synopsis
### Background and setting
Quest for the Toa was intended to be a prequel to Lego Bionicle: The Legend of Mata Nui, which was being developed simultaneously by Saffire, and its ending is a direct setup for The Legend of Mata Nui. However, the game was canceled in October 2001. The main character in Quest for the Toa, Takua, was also the playable character in the Mata Nui Online Game, an online point-and-click adventure game that continued the 2001 Bionicle story.
Quest for the Toa is set on the fictional island of Mata Nui, which is divided into six elementally-themed regions: the aquatic region of Ga-Wahi, the jungle region of Le-Wahi, the icy and mountainous region of Ko-Wahi, the subterranean region of Onu-Wahi, the desert region of Po-Wahi, and the volcanic region of Ta-Wahi. Each of the regions contains a village, known as a koro, and each koro is led by a Turaga, the village elder. A great temple, Kini-Nui, lies near the center of the island. Although Mata Nui was once a paradise in the distant past, its villages have since lived in fear of the evil Makuta, whose dark power dominates the island at the start of the story. The villagers await the prophesied arrival of the Toa, six warriors destined to defeat Makuta and restore peace to the island.
### Plot
On the beaches of Onu-Wahi, the villager Takua is informed that Turaga Whenua of Onu-Koro wishes to meet with him; upon arriving in the village, he finds that Whenua has been kidnapped by a hostile Rahi beast. After rescuing Whenua, Takua learns from the elder that many of the other Turaga have been kidnapped and that the sacred Toa Stones have been stolen by Makuta; without the Toa Stones, the Turaga cannot tell the legend of Mata Nui and the prophecy of the Toa cannot be fulfilled. Takua manages to recover the Toa Stone for Onu-Koro and departs for the other villages: he frees Turaga Nokama in Ga-Koro, Turaga Onewa in Po-Koro, Turaga Matau in Le-Koro, and Turaga Nuju in Ko-Koro, also recovering their stolen Toa stones as well as the missing tools of each Turaga.
When Takua arrives in Ta-Koro, he is met by Turaga Vakama. Although Vakama has heard of Takua's exploits in the other villages, he doubts Takua will be able to find their missing Toa Stone. Vakama tasks Takua with finding an antidote for the village's poisoned water supply; shortly afterwards, the Turaga is kidnapped. Takua manages to find Vakama and the antidote and is tasked with retrieving the missing Toa Stone, hidden in a nearby volcano. Takua recovers the stone and escapes on his lava surfboard as the volcano erupts, landing in the temple of Kini-Nui where the Turaga have all gathered. The grateful Turaga tell Takua to return the Toa Stones to their rightful places in the temple; when he does this, the stones emit a beam of light into the sky, summoning the Toa to the island and blasting Takua to a beach of Ta-Wahi, where he sees an open Toa canister and footsteps heading towards Ta-Koro.
## Development
Saffire had been recommended to Lego by Nintendo; Hal Rushton, the president of Saffire, felt the two companies were similar in that they both placed an emphasis on "high moral standards". Saffire employee Jay Ward called the partnership between Lego and Saffire as a "good fit", describing both companies as being "family oriented". Saffire was headquartered in American Fork, Utah, which Rushton noted had many people who could speak multiple languages; this was important to Lego because they wanted the game to support nine languages. According to Rushton, Saffire brainstormed with Lego employees to create the creature designs for both Quest for the Toa and its companion game, The Legend of Mata Nui. Taylor Hunt, the nine-year-old son of one of the game's developers, was employed for six weeks to beta test the game; Dave Rushton, the game's lead programmer, was impressed with Hunt's ability to find bugs and log every error he found.
### Māori controversy and renaming
Bionicle was unique among Lego toy lines at the time in that it encompassed both toys and video games, with the setting of the toys being explained through games. The story and setting of Bionicle took inspiration from Polynesian culture and languages, and Māori language and influence were especially prominent through character names, myths, tribal symbols, and rituals. Māori representatives found this usage to be inappropriate and a "trivialization" of their culture. Māori groups had taken particular offense to the use of the word tohunga, which in the Bionicle story referred to the island's ordinary villagers; in the Māori language, the term referred to experts in a specific field. The Māori groups sought to have Lego remove these terms from the toy line and games.
Lego denied claims of cultural appropriation; spokeswoman Eva Lykkegaard noted that the company had not attempted to trademark any Māori terms and had only sought a trademark for the word Bionicle, which Lego had created. However, Lego ultimately agreed to stop using several words, including tohunga, and Saffire removed all mentions of them from both of their games in development; because of this, Tales of the Tohunga was renamed to Quest for the Toa. Lego also pledged to create a "code of conduct for cultural expressions of traditional knowledge" and said that no future Bionicle sets would use names of "original cultures". Although Lego did not halt production of the toy line or recall existing versions of the game, Roma Hippolite of the Ngati Koata Trust said that the Māori were "impressed by the willingness of Lego to recognise a hurt was inadvertently made and show that in their actions".
## Promotion and release
Quest for the Toa was initially scheduled for release on the Game Boy Advance on June 11, 2001. The game was first shown off at Camp Game Boy Advance, an event held by Nintendo, in March 2001. It was considered a surprising announcement for the event and was the first project that Saffire had unveiled in several months. Quest for the Toa was later shown off at E3 2001 alongside The Legend of Mata Nui, with both titles scheduled for release in September 2001; although the game had been completed for "some time" as of July 18, 2001, it was still being evaluated by Nintendo at that point. The game was ultimately released on October 2, 2001, but the companion game The Legend of Mata Nui was canceled.
## Reception
Quest for the Toa was poorly received by critics. Hilary Goldstein of IGN gave it a 4.5 out of 10, calling it an "uninspired mess" and "just no fun". Goldstein criticized the "bland and forgettable" non-player characters and said that the game lacked any real challenge or reward but offered praise for its graphics, creature variety, and minigames. Quest for the Toa received a 5.5 out of 10 from Max Lake of Nintendo World Report. Although Lake praised its presentation value, minigames, and dialogue, he called it "a disappointment overall" and felt it was "tragically crippled by frustrating platforming and awkward play mechanics". Fwiffo of Game Over Online gave the game 54%, panning its design as "atrocious" and criticizing the gameplay as "repetitive and, often times, downright boring" but offering praise for the minigames. The game was blasted as an "eye-watering travesty" by NGC Magazine, with criticism directed at its "confused mix of game styles" and "sloppy execution". The reviewer gave the game two out of five stars and advised readers to purchase the toys instead of the game.
Reviewers at Nintendo Power gave the game 2.5 out of 5 stars, criticizing its graphics and controls but praising its minigames. Although the reviewers felt the game was "uneventful", they felt it might appeal to younger players as well as Lego fans. Michael Lafferty of GameZone gave it a 7.7/10, calling it an "enchanting journey" and an "enjoyable little outing". Although he felt the game's storyline was "tired" and noted the game as being very linear, he praised its graphics and puzzles as well as the variety of enemies and minigames. Joe Guys of Game Vortex gave the game 60%, calling the game "decent" but "more frustrating than fun" due to its difficulty.
In the January 2002 issue of Nintendo Power, Quest for the Toa ranked as the fifth-best selling Game Boy Advance Game for the month. | [
"## Gameplay",
"## Synopsis",
"### Background and setting",
"### Plot",
"## Development",
"### Māori controversy and renaming",
"## Promotion and release",
"## Reception"
] | 2,440 | 24,936 |
68,358,018 | Sazanami Cherry | 1,075,294,688 | 2010 manga by Rika Kamiyoshi | [
"2010s LGBT literature",
"Cross-dressing in anime and manga",
"Ichijinsha manga",
"LGBT in anime and manga",
"Romance anime and manga",
"Seinen manga",
"Transgender in anime and manga"
] | Sazanami Cherry (Japanese: さざなみチェリー, Hepburn: Sazanami Cherī) is an otokonoko romance manga created by Rika Kamiyoshi [ja]. It was originally serialized by Ichijinsha in their magazine Waai! from April 24, 2010, to August 25, 2011, and has since been collected in a single tankōbon volume. Together with Reversible!, it was the first manga published under the Waai! Comics imprint.
The story follows Kazuhiro Migiwa, who falls in love with the cross-dresser Ren Takano under the belief that he is a woman, and their romantic relationship. Kamiyoshi wrote the story based on the concept of the unease around difficulties for otokonoko to remain feminine as they grow older and wrote the main characters as a gay couple to add more depth to the story. The series was well received and was considered by critics to stand out among otokonoko manga.
## Plot
Sazanami Cherry is an otokonoko romance manga following Kazuhiro Migiwa, who falls in love with Ren Takano on first sight. When confessing his love, he learns that Ren is a cross-dressing man, rather than a woman as he had first believed. Kazuhiro is surprised but does not let Ren's gender affect his attraction to him. They become a couple and begin dating, and Ren enjoys being treated like a woman and being seen as cute. One day while on a date they are confronted by Ren's older sister Kai, who disapproves of how he cross-dresses and pretends to be a woman, and tells him he will have to stop eventually.
Ren tells Kazuhiro about how he took an interest in cross-dressing after playing dress-up with Kai as a child, but that their father was upset at Kai over it, after which Kai has tried to stop Ren from wearing girls' clothes. Ren asks Kazuhiro if he could still love him if he stopped being feminine, and he does not know how to answer. When they see each other on the train the next day, Ren is wearing men's clothes and breaks up with Kazuhiro. Kai seeks out Kazuhiro, telling him about how Ren left her a message apologizing for cross-dressing. She reveals that she was herself assigned male at birth, but that her father did not accept that she preferred femininity until she was an adult; knowing the hardship of presenting femininely, she tried to dissuade Ren from it.
Kazuhiro explains to her how Ren feels, and they meet up with him to talk. Kai repeats what she told Kazuhiro and says that she was jealous of Ren for his femininity and for having a boyfriend. Ren is surprised, having only ever known her as a woman due to their age gap. They reconcile, and Ren takes up dressing like a woman again. Two years later, he is still cross-dressing and in a relationship with Kazuhiro. In an epilogue, Ren and Kai are shown having grown closer again.
## Production and release
Sazanami Cherry was written and illustrated by Rika Kamiyoshi [ja], who was helped by her assistants Shiro and Mugicha with the background art and screentones. The series was serialized by Ichijinsha in Japanese in their cross-dressing manga magazine Waai!, premiering on April 24, 2010, in the magazine's first issue and running until its sixth issue on August 25, 2011. The concept for the story came from how Kamiyoshi wanted to write a story about a cute cross-dresser falling in love, and to portray the unease of difficulties for otokonoko in remaining feminine while getting older. She considered whether the cross-dressing character's partner should be female or male, and if male, whether they too are a cross-dresser, finding this an important point in cross-dressing romance stories: she eventually chose to make Kazuhiro a male character, as she thought Kazuhiro and Ren being a gay couple would add depth to the story.
Kamiyoshi designed the characters in consultation with her editor but in the end only made few, minor alterations to the designs compared to her first drafts; for Kai, she did not prepare a design sheet in advance but designed her as a "somewhat pretty, realistic-looking" woman in her mid-20s. She designed Ren to be cute in a feminine way when wearing men's clothes and even more so when cross-dressing, while contrasting this by writing him as mischievous. A key point in his design to make him come across as charming was the addition of pigtail hair extensions that shake as he moves around. The main characters' names were chosen to carry meaning: "Ren" is written with the same kanji character as sazanami (漣, "waves"), and Kazuhiro's family name "Migiwa" (汀) means "shore", representing how Kazuhiro supports Ren. Kai's nickname, "Umi", is also based on kanji readings, chosen as a more feminine-sounding reading of the same kanji used to write "Kai" (海).
Ichijinsha collected the series in a single tankōbon volume on October 20, 2011, which together with Reversible! was both the first manga released under the Waai! Comics imprint and the first Waai! manga to see a collected release. The two series were chosen for this as Waai!'s editor-in-chief Toshinaga Hijikata considered them the most distinctive and representative of their manga. Because of the cross-dressing theme, the magazine staff focused on ensuring that the cover artwork for the collected volume would not cause embarrassment for potential customers and cause them to avoid bringing a copy to the book store check-out.
### Collected edition
## Reception
Sazanami Cherry was well received both critically and by readers; Bukumaru and Honcierge both considered it a must-read otokonoko manga, the latter calling it among the best written. Natalie found it to stand out among Waai!'s manga, helping diversify the magazine and forming the foundation that Waai! rests on.
Critics liked the writing, with Bukumaru calling it an exciting and sad love story. Honcierge called the story heartbreaking and appreciated how it made use of the otokonoko genre to tell a story that could not happen in other genres. The cast was well received, with both Natalie and Honcierge finding Ren cute and charming, the latter of whom appreciated seeing him act both cutely mischievous and sweetly with Kazuhiro, whom they found appealing for not letting Ren's gender affect his attraction to him. Bukumaru enjoyed following Ren and Kazuhiro's relationship and considered the highlight to be Ren's inner conflict around having to stop being feminine as he gets older. | [
"## Plot",
"## Production and release",
"### Collected edition",
"## Reception"
] | 1,437 | 4,699 |
46,805,657 | The Heart of Ezra Greer | 1,168,118,496 | 1917 American silent drama film directed by Emile Chautard | [
"1910s American films",
"1917 drama films",
"1917 films",
"1917 lost films",
"American black-and-white films",
"American silent feature films",
"Films directed by Emile Chautard",
"Lost American drama films",
"Silent American drama films",
"Thanhouser Company films"
] | The Heart of Ezra Greer is a 1917 American silent drama film produced by the Thanhouser Company and directed by Emile Chautard. The film focuses on Ezra Greer, a successful middle-aged man who searches for his college age daughter, Mary. The wayward Mary was romanced and abandoned by Jack Denbeigh, later bearing his child. Once Ezra becomes broke he finds employment as the valet for Jack Denbeigh. After Jack's engagement to a cabaret girl, Mary becomes upset and leaves her child at Jack's home. Contrary to Jack's wishes, Ezra keeps the child and Jack ultimately reveals that the child is his own. Ezra convinces Jack to make things right and Ezra convinces the cabaret girl to leave Jack. After a carriage accident in which the baby is injured, Ezra and Jack rush to the hospital and find Mary as a nurse crying over the child. The film ends with the marriage of Jack and Mary. The film was released by Pathé on October 7, 1917. The film was the final release from Thanhouser and was deemed to be an average film by most reviewers. Criticism for the film hinged on far-fetched coincidences to drive the plot. The film is presumed lost.
## Plot
The film follows Ezra Greer, a middle-aged man who has worked hard since his youth. He cares deeply for his motherless daughter, Mary, but was unable to attend the annual commencement at her co-educational college. He awaits for her to return from college, but Mary leaves with her romantic interest, Jack Denbeigh. On promise of marriage and wealth, Mary is romanced and gives birth to a fatherless child. Without word from his daughter, Ezra resigns from his job and attempts to seek her out and finds a poor motherless child, Marie. With Ezra's money exhausted he seeks employment and finds it as the valet of Jack.
One day, Mary seeks an announcement of Jack's engagement to a cabaret girl known as "The Baby Vamp". Bitter over the prospect of her child's future, she leaves the child at Jack's home during his absence with a note. Jack orders Ezra to take the baby to an orphanage, but Marie begs Ezra to keep him. After continually seeing the child, Jack is overcome with remorse and explains to Ezra and seeks his advice. Not knowing he was making the case for his own daughter, Ezra convinces Jack to seek out Mary and forget the Baby Vamp. The Baby Vamp seeks out Jack, but finds Ezra who convinces her to leave Jack. Jack's son is later injured in a coach accident and is taken to the hospital. Jack and Ezra rush to the hospital and find Mary, as a nurse, crying over the injured child. Ezra is enraged upon learning that his own daughter was mistreated by Jack, but Mary steps between the two men. Jack apologizes and wants to make it right. The film concludes with Jack and Mary.
## Cast
- Frederick Warde as Ezra Greer
- Leila Frost as Mary
- George Forth as Jack Denbeigh
- Thomas A. Curran as Denbeigh's guardian
- Lillian Mueller as Amy Devers
- Carey L. Hastings as Denbeigh's housekeeper
- Helen Badgley as the poor little girl
- Gerald Badgley as the millionaire's baby
- W. Ray Johnston
## Production
The film was the final production and release of the Thanhouser Company and it was to be released through Pathé. Numerous factors would play into the winding down and eventual closing of the Thanhouser Film Corporation with much advance notice by Edwin Thanhouser. Q. David Bowers writes that it was easy to understand Thanhouser's decision to retire due to numerous aspects including that releases through Pathé were based on their decision to release or discard the work, the New Rochelle studio was 2,500 miles from the center of the trade activity and the slump in industry tied to World War I. Weeks before the film was released, Variety told of the winding down of the Thanhouser with the studio's staff consisting of Edwin Thanhouser and the bookkeeper, Jessie B. Bishop. The article concluded with the announcement that Lloyd F. Lonergan, the scenario writer of the company, had retired from the company. As it wound down, the Thanhouser Company was announced to have no liabilities would close with a positive bank balance. Little is known of the production of this final film, but it was directed by Emile Chautard from a scenario written by Lloyd F. Lonergan. The cameraman was Jacques Bizeul.
## Release and reception
The five reel film was released through the Pathé Exchange as a Pathé Gold Rooster Play on October 7, 1917. Charles E. Wagner of the Exhibitor's Trade Review found it to be a good film with great direction and photography, but was concerned that the stunt in which the baby appeared to be involved in the accident was too real. Wagner stated the film had sufficient action and pathos without sexual suggestiveness; which should prove a strong program for the Pathé program. Frances Agnew of The Morning Telegraph found it to be an average picture that was not exceptional for audiences, but it would hold sentimental appeal for the average viewer. A reviewer for The New York Dramatic Mirror found the film's excessive use of coincidental meetings to be highly improbable, but found Warde's performance to be excellent and the rest of the cast give good performances. The reviewer said that Emile Chautard had made the improbable story more plausible.
Like many American films of the time, The Heart of Ezra Greer was subject to cuts by city and state film censorship boards. The Chicago Board of Censors required the cutting in Reel 2 of a letter stating, "I cannot face my father," etc., and two closeups of gambling scenes; and in Reel 5 a change of the intertitle "Because it means her whole future" to "Because she is his wife". | [
"## Plot",
"## Cast",
"## Production",
"## Release and reception"
] | 1,245 | 18,389 |
29,136,635 | Hurricane Paula | 1,171,667,419 | Category 2 Atlantic hurricane in 2010 | [
"2010 Atlantic hurricane season",
"2010 in Cuba",
"2010 in Florida",
"2010 in Honduras",
"2010 in Mexico",
"2010 in Nicaragua",
"2010 natural disasters in the United States",
"Atlantic hurricanes in Mexico",
"Category 2 Atlantic hurricanes",
"Hurricanes in Cuba",
"Hurricanes in Florida",
"Hurricanes in Honduras",
"Hurricanes in Nicaragua",
"Tropical cyclones in 2010"
] | Hurricane Paula was a small hurricane that struck Honduras and Cuba in October 2010. The eighteenth tropical cyclone, sixteenth named storm, and ninth hurricane of the season, Paula developed from a low pressure area over the southwestern Caribbean Sea on October 11. Moving northwestward, it slowly organized and was upgraded to a tropical storm shortly thereafter. Around midday on October 11, Paula made landfall near Cabo Gracias a Dios at the border of Honduras and Nicaragua. In northeastern Honduras, strong winds destroyed several homes, while rainfall destroyed a few roads and dozens of buildings, include a school and a police station. Favorable conditions such as low wind shear and warm sea surface temperatures allowed Paula to reach hurricane status early on October 12. Further intensification occurred, and the storm peaked with winds of 105 mph (165 km/h) while curving northward on October 13.
Due to Paula's small size, impact in Mexico was minor, mainly limited to light rainfall and winds. However, an American tourist drowned offshore Cozumel. After Paula attained its peak intensity on October 13, wind shear began to increase, causing the storm to weaken. The storm turned north-northeastward and fell to tropical storm intensity on October 14. Shortly thereafter, Paula made landfall in the Cuban province of Pinar del Río. Early on October 15, Paula weakened to a tropical depression while moving eastward over Cuba, before degenerating into a remnant low pressure area about six hours later. In Cuba, rainfall was mostly beneficial. Strong winds, with gusts reaching 68 mph (109 km/h), left power outages in Pinar del Río and Artemisa provinces. In the Havana area, a few homes were deroofed, while falling trees blocked many roads. Impact in the Florida Keys was minimal, limited to light rainfall and increased tides.
## Meteorological history
Tropical Storm Nicole exited the Caribbean Sea and became extratropical on September 29, before dissipating on the next day, leaving behind a broad area of cyclonic circulation at the lower levels of the atmosphere. A southeasterly-moving cold front drifted from the Gulf of Mexico into the Caribbean Sea on October 5, and developed into a stationary north–south trough axis the following day. When a tropical wave that was associated with the previous development of Hurricane Otto traced into the Caribbean on October 7, there was an escalation in the convection associated with the system. Another tropical wave traveled from the Lesser Antilles to the western Caribbean between October 9 and 10. A large low-pressure area formed as the wave interacted with the trough; however, convection decreased on October 10.
After convection increased again, the eighteenth tropical depression of the season developed at 0000 UTC on October 11, while situated about 120 miles (190 km) southeast of Cabo Gracias a Dios, which is on the Honduras-Nicaragua border. About six hours later, the depression strengthened into Tropical Storm Paula. Steered northwestward around the southwestern periphery of a subtropical ridge, the storm made landfall near Cabo Gracias a Dios with winds of 50 mph (85 km/h) at 1200 UTC. Shortly thereafter, the storm began to significantly intensify, due to sea surface temperatures of 84.2 °F (29.0 °C), as well as light to moderate wind shear. Operationally, the National Hurricane Center did not initiate advisories until late on October 11, after satellite imagery, surface observations, and reconnaissance aircraft flight data confirmed the existence of a tropical cyclone; by this time, Paula was already a strong tropical storm.
At 0000 UTC on October 12, Paula strengthened into a Category 1 hurricane on the Saffir–Simpson hurricane wind scale. Satellite imagery during the afternoon of October 12 indicated that Paula was a small hurricane, consisting of a round area of deep convection, with an eye feature developing. However, at 1800 UTC on October 12, the storm strengthened into a Category 2 hurricane while curving northward. Simultaneously, Paula attained its peak intensity with maximum sustained winds of 105 mph (165 km/h) and a minimum barometric pressure of 981 mbar (29.0 inHg). After reaching peak intensity late on October 12, strong upper-level west-southwesterly winds interacted with the system, prompting weakening. Paula was a very small hurricane; hurricane-force winds extended only 25 miles (40 km) from the center of Paula, while tropical storm-force winds extended 70 miles (110 km) from the same point. Paula moved north-northwest as the storm was impacted by a mid-latitude trough over the Gulf of Mexico.
Increasing wind shear caused Paula to weaken to a Category 1 hurricane late on October 13. Satellite imagery and reconnaissance aircraft flights indicated that cloud pattern was disrupted and the mid- and low-level centers were becoming detached. Shortly thereafter, Lixion Avila of the National Hurricane Center remarked about the size of Paula, stating that, "a hurricane is crossing between the western tip of Cuba and eastern Yucatan...but without modern technology no one would know it was there". Drifting north-northeastward ahead of a mid-latitude trough, Paula weakened to a tropical storm at 1200 UTC on October 14. Three hours later, the storm made landfall between Santa Lucía and Puerto Esperanza, in the Pinar del Río Province of Cuba, with winds of 65 mph (100 km/h). By 0600 UTC on October 15, Paula weakened to a tropical depression, while moving eastward over Cuba. Six hours later, the storm degenerated into a remnant low before completely dissipating early on October 16.
## Preparations and impact
### Honduras and Nicaragua
When the National Hurricane Center initiated advisories on Paula at 2100 UTC on October 11, a tropical storm warning was issued from Limón eastward to the Honduras-Nicaragua. The tropical storm warning was discontinued at 1200 UTC on the following day. The Comisión Permanente de Contingencias (COPECO) issued a red alert for Bay Islands late on October 11. Additionally, a yellow alert was issued for five departments, including Atlántida, Colón, Cortés, Olancho, and Yoro. A state of emergency was also declared for the Bay Islands Department on October 12 and was to remain in place for 48 hours.
Along the northeastern coast of Honduras, several homes were destroyed by the storm. Dangerous conditions produced by Paula also forced officials to evacuate low-lying areas and shut down schools. Gale-force winds onshore resulted in the closure of the Puerto Lempira Airport. Throughout coastal districts, rainfall from the storm ranged from 5.9 to 7.9 in (150 to 200 mm), resulting in widespread flooding. Winds from the storm were also estimated up to 60 mph (97 km/h), and locals in La Mosquitia stated that the winds were stronger than those produced by Hurricane Mitch in 1998. In Puerto Lempira, four homes and two roads were destroyed by high winds and flooding. In the city, a total of 3.31 in (84 mm) of rain fell during Paula's passage on October 11. More than a dozen structures in Cauquira, including a school and police station were also damaged by flood waters. Along the coast, waves up to 7 ft (2.1 m) pounded beaches.
In Nicaragua, the storm produced heavy rainfall in some areas, though otherwise, impact is unknown.
### Mexico and Belize
In Mexico, a tropical storm warning was issued from Chetumal to Punta Gruesa at 2100 UTC on October 11. Simultaneously, a hurricane warning was posted from Punta Gruesa to Cancún, including Cozumel. Early on October 12, another tropical storm warning was issued from Cabo Catoche to San Felipe. Around that time, the hurricane warning was modified to include Punta Gruesa to Cabo Catoche. Later on October 12, the tropical storm warning Chetumal to Punta Gruesa was discontinued, as was the hurricane warning from Punta Gruesa to Punta Allen early on the following day. At 1500 UTC on October 13, the tropical storm warning was revised to include Cancún to San Felipe. Simultaneously, the hurricane warning from Punta Allen to Cabo Catoche was canceled. Late on October 13, the tropical storm warning from Cancún to San Felipe. Officials assured tourists their safety and did not issue evacuations; however, about 1,560 locals were evacuated from Isla Holbox and Isla Contoy. Roughly 28,800 people were estimated to be visiting the region, most of whom were in Cancún. Between October 12 and 13, transportation officials canceled 22 international flights to and from Cancún.
Off the coast of Cozumel, an American citizen drowned after being overcome by rough seas produced by the storm. Only light to moderate rain fell along the northeastern coast of the Yucatán Peninsula; throughout October 13, 0.91 in (23 mm) of rain had fallen in Cancún and winds gusted up to 27 mph (43 km/h). Despite the storm's close passage to the Yucatán Peninsula, Paula's small size resulted in very little impact on land. According to Quintana Roo Governor Félix González Canto, the storm left no structural or vegetative damage. Following the hurricane's passage, the red alerts issued for four Mexican states were discontinued and ports were re-opened.
In Belize, a tropical storm watch was issued for the entire country at 0000 UTC on October 12. It was discontinued about nine hours later. The Government of Belize suspended school classes, as the buildings were being used as storm shelters. Voluntary evacuations were recommended for residents of the coastal cayes. A small craft warning was declared along the coast and advised marines to take precautions. At Punta Negra, the National Guard of Belize evacuated residents on October 13. However, no impact was reported in Belize.
### Cuba and Florida
In Cuba, a hurricane warning was issued for Pinar del Río Province – the westernmost province – at 2100 UTC on October 12. After Paula weakened to a tropical storm on October 14, the hurricane warning was downgraded to a tropical storm warning. Early on October 15, the tropical storm warning was discontinued. Officials recommended that those residing in low-lying to evacuate for higher ground. The tobacco plants in Pinar del Rio, which are used to make Cuban cigars, were protected.
In Cuba, the outer bands of Paula brought heavy localized rains, especially to the Isla de la Juventud where 2.8 in (71 mm) of precipitation was recorded on October 12. Heavy rain fell across much of Pinar del Río Province. In Cape San Antonio, 4.85 in (123 mm) of rain fell by the morning of October 14. In some areas of western Cuba, the heavy precipitation was beneficial to reservoirs, grain crops, tubers and vegetables. The highest winds recorded during the storm's passage were measured in Puerto Esperanza at 68 mph (109 km/h). Strong winds left power outages in Viñales, La Palma, Bahía Honda, and San Cristóbal. Near Havana, a few homes lost their roofs and power was lost to many homes, mostly as a result of a precautionary power shutdown. High winds also downed numerous trees, blocking many roads. Along the coast, rough seas damaged parts of the capital city's seawall. Some streets near the shore were left under 1 to 2 ft (0.30 to 0.61 m) of water at the height of the storm. By the afternoon of October 15, emergency crews began clearing debris left behind by the storm. A small portion of banana crops in the Havana area suffered losses. Throughout the country, Paula resulted in relatively little damage.
In Florida, a tropical storm watch was issued from Dry Tortugas to Craig Key at 1500 UTC on October 13. The tropical storm watch was discontinued early on October 15. In the Florida Keys, the outer bands of Paula brought moderate rainfall and increased surf. A total of 1.51 in (38 mm) of rain in Key West had fallen between October 13 and 15. Two waterspouts were reported offshore the Upper Florida Keys on October 14. Following the threat of a landfalling storm in Florida, orange juice futures dropped by 8.9%, reaching their lowest value since September 9. Values for delivery fell to \$1.409 a pound (453 grams) at the worst of the downturn.
## See also
- Other storms of the same name
- List of Category 2 Atlantic hurricanes
- List of Cuba hurricanes
- Hurricane Stan (2005)
- Hurricane Richard (2010)
- Hurricane Rina (2011) | [
"## Meteorological history",
"## Preparations and impact",
"### Honduras and Nicaragua",
"### Mexico and Belize",
"### Cuba and Florida",
"## See also"
] | 2,717 | 36,834 |
34,819,169 | Oregon (Awake) | 1,051,758,043 | null | [
"2012 American television episodes",
"Awake (TV series) episodes"
] | "Oregon" is the fifth episode of the American police procedural drama television series Awake. The episode first premiered on March 29, 2012 in the United States on NBC, was simultaneously broadcast on Global in Canada, and was subsequently aired on Sky Atlantic in the United Kingdom on June 1, 2012. It was written by consulting producer Lisa Zwerling, and directed by Aaron Lipstadt. "Oregon" was well received by television critics, who praised its storylines. Commentators noted that the script was well written and that the episode was the "strongest outing" since "Pilot" broadcast on March 1, 2012. Upon airing, the episode garnered 3.18 million viewers in the United States and a 1.0/3 rating-share in the 18–49 demographic, according to Nielsen ratings. It ranked second in its timeslot, behind The Mentalist on CBS.
The show centers on Michael Britten (Jason Isaacs), a police detective living in two separate realities after a car accident. In this episode, Michael deals with a case involving a serial killer Gemini, who had killed another person in the "green reality". FBI agent Elizabeth Santoro (Megan Dodds) insists that he is dead, as she killed him herself after he had committed a huge crime. Gemini pretends to be a police officer, and frames Michael, pretending that he was with him. Agent Santoro thinks that he is involved in the case due to this frame, and other reasons. Gemini injects Santoro, and then takes her to a place outside. He starts to cut Santoro's wrist off, and Michael and his partner in the "green reality", Isaiah "Bird" Freeman (Steve Harris) get her. Meanwhile, in the "red reality", Dr. Jonathan Lee (BD Wong) states that Michael and his wife Hannah Britten (Laura Allen)'s marriage is falling apart. However, Hannah admits that she was "embarrassed" about wanting to move to Oregon.
## Plot
The episode opens in the "red reality" (where Hannah is alive and Rex is not from the car accident), and Michael Britten (Jason Isaacs) is jogging around Los Angeles. When Michael gets home, he talks to his wife Hannah (Laura Allen), who is in Oregon looking at a university. Later in the "green reality" (where Rex is alive and Hannah is not), Michael and Rex (Dylan Minnette) are stuck in traffic, and Michael is later called into work. His partner in the "green reality", Isaiah "Bird" Freeman (Steve Harris) talks to Michael, then Michael goes for a run at the Griffith Park. He goes to the top of a hill overlooking the city, while a dog appears from behind a bush and barks at him. Michael notices human flesh in him, and goes to investigate, where he finds a corpse sitting against a tree. Michael goes to the police station, and shows Captain Harper similar cases starting in 1999. In each case, a killer, nicknamed Gemini (Salvator Xuereb), vertically slashed the victim's wrists and carved a Roman numeral in their chests. The murders have taken place all across the United States, but everyone believes that Gemini is dead after an FBI agent Elizabeth Santoro (Megan Dodds) had shot him. Michael wants to cover the area as much as they can and Captain Tricia Harper (Laura Innes) agrees, telling Michael to pick up the profiler that the FBI has sent. Michael goes to Brentwood and meets with FBI agent Elizabeth Santoro. They discuss his history and she admits that she has been focused solely on the "Gemini Killer" for the last 12 years. Michael confirms that they did not find one on the body, so she figures that it is a copycat. Michael goes to the crime scene, while Bird is already there. The partners go over the hillside and find the dog. They take him to Dr. Banks (Chris McGarry) and have him check his stomach, where he finds a United States two-dollar bill in it. When Michael takes the evidence to Harper and Santoro, Santoro insists that it only means that someone with classified information to the case is involved. She suggests they check anyone who has recently laid off law enforcement officers with psych problems. Bird and Santoro create a database if the killer is alive. Santoro lets Harper decide and she tells the detectives to pull the files on law officers. As Santoro leaves, Michael approaches her and says that he understands the implications if the man she shot was Gemini. Meanwhile, the killer prepares a set of medical tools, a wad of two-dollar bills, and a syringe.
Later in the "green reality", Michael suggests they check cheap motels in the area, since Gemini set up base a couple miles from the sites of his murders. Later, Michael talks to the manager at one hotel. After he leaves the hotel, Michael sees a secret place closed and Michael breaks in, drawing his gun. He spots the "Gemini Killer" inside, but he ran away when Michael identified himself as a police officer. Soon after, the CSI team investigates, and Harper and Santoro wonder why Michael was there. He says that he was checking out motels and thought the building looked suspicious, and Santoro claimed that Michael is a "suspect". They are unaware that the killer is listening to them from a nearby vent. Michael leaves the investigation, and as he goes to his car, the killer is seen dressed in a police uniform, as he is starting at him. Later at the station, Harper tells him that they got a call from someone claiming to be their guy. She plays a recording and Gemini addresses Michael as his friend. Harper tells Michael that they traced the call to his home phone. Later, Michael meets with Bird and the two find out that the killer was going to eject and then murder Agent Santoro. Later, the "Gemini Killer" begins to cut the FBI agent's wrist. Minutes later, Michael and Bird try to find the killer, and the agent. They find her and she is taken to the hospital. Her family comes and sees her. Later, Michael tells Hannah what he's learned about the movers and Oregon. She shares her secrets, claimed that she was "embarrassed", and they talk.
Michael's shrink in the "green reality", Dr. Judith Evans (Cherry Jones), cites that one reality will begin the scene as a fantasy. As Michael leaves in the car, Gemini calls Michael and explains that he was intrigued by Michael's success in tracking him down. He broke into Evans' office, read her files, and asks Michael if he is awake or asleep. However, Gemini says that the world needs people like him and Michael; people who can see it sideways. As he takes a flight to Portland, Gemini says that he hopes Michael doesn't wake up and then hangs up.
## Production
The episode was written by consulting producer Lisa Zwerling, and directed by Aaron Lipstadt; it was Zwerling and Lipstadt's first writing credit, and was Lipstadt's first directing credit on the series. This is the second episode that was not written by series creator and executive producer Kyle Killen, with the last episode he wrote being "Guilty". Although it was the fifth broadcast episode, it was originally scheduled to be the fourth episode of the season, with the production code being "1ATR03" due to NBC's decision to change the broadcasting order.
### Casting
The episode featured guest performances from many actors including Laura Innes as Tricia Harper, Michael's captain officer in the series, Chris McGarry as Dr. Banks, a doctor working at the Los Angeles Police Department, Salvator Xuereb as Gemini, and Megan Dodds as Elizabeth Santoro, an FBI agent. Frank Gallegos was cast as DaSalva, Hal Havins was cast as hotel manager Brett London, and Erin Woods was cast as Santoro's daughter. Damian Poitier also appeared, but as a police uniform officer.
## Reception
### Ratings
"Oregon" was originally broadcast on March 29, 2012 in the United States on NBC between 10:00 p.m. and 11:00 p.m., preceded by Up All Night. Upon airing, the episode garnered 3.18 million viewers in the United States, and ranked second in its timeslot despite airing simultaneously with The Mentalist on CBS, and a rerun of Private Practice on ABC. It acquired a 1.0/3 rating-share in the 18–49 demographic, meaning that it was seen by 1.0% of all 18- to 49-year-olds, according to Nielsen ratings. The episode's ratings had dropped from the previous episode, "Kate Is Enough", which obtained one million less in viewers. It was simultaneously broadcast on Global in Canada, and was subsequently aired on Sky Atlantic in the United Kingdom on June 1, 2012. The episode obtained 228,000 million viewers in the United Kingdom, making it the fourth most-watched program for that week on the channel behind Smash, Hit & Miss, and Game of Thrones. The episode's ratings had slightly dropped from the previous episode.
### Critical response
"Oregon" was well received by most television commentators, who praised its storylines. Matt Fowler of IGN gave the episode a good review. He claimed that the episode "felt like a bit of a stand-alone story focusing on Britten's heightened anxiety over Rex's grief", and that the episode also "stepped in and launched the series forward, introducing one of Britten's worlds to a rather apropos serial killer". He also liked the episode's "ambition". Fowler concluded his review by giving the episode an "8.5 out of 10", classifying it as "great". Nick McHatton from TV Fanatic also praised the episode. He claimed that the Britten family will not move to Oregon in the "red reality", as it is "already complex enough as it is". McHatton concluded his review by giving the episode a score of "4.8 out of 5". Caroline Preece from Den of Geek gave praise in the episode. She claimed that the episode was the "strongest outing" since "Pilot" broadcast on March 1, 2012. Preece wrote that the episode "used interesting story ideas, [meaning] the writers have bigger plans for the weeks ahead". HitFix's Alan Sepinwall gave many notes on the episode. He claimed that NBC's decision to change the broadcasting order was "probably for the best, in that doing back-to-back episodes where Britten's son was kidnapped in the first and Britten attracted the personal interest of a serial killer in the second would have felt like too much". He criticized parts of the episode writing that the episode "seemed too much like a conventional cop show". Screen Rant's Kevin Yeoman said that the episode "works best when its procedural elements take on a sort of background essence". He also wrote that as a series it is "becoming a sustainable program". Zack Handlen from The A.V. Club enjoyed "Oregon". In his "B" review, he stated that he enjoyed the "impressionistic approach, scenes of emotional connection and growth". | [
"## Plot",
"## Production",
"### Casting",
"## Reception",
"### Ratings",
"### Critical response"
] | 2,316 | 23,692 |
13,039,825 | Bartholomew of Exeter | 1,093,819,602 | 12th-century Bishop of Exeter | [
"1184 deaths",
"12th-century English Roman Catholic bishops",
"Anglo-Normans",
"Bishops of Exeter",
"Burials at Exeter Cathedral",
"Year of birth unknown"
] | Bartholomew of Exeter (died 1184) was a medieval Bishop of Exeter. He came from Normandy and after being a clerk of the Archbishop of Canterbury, was made Archdeacon of Exeter in 1155. He became Bishop of Exeter in 1161. Known for his knowledge of canon law, he was involved in the Becket controversy after the appointment of Thomas Becket as Archbishop of Canterbury. After Becket's death, although he was frequently at the royal court, he mainly attended to his diocese. A number of works by him survive, including sermons and treatises on law and theology.
## Early life
Bartholomew was a native of Normandy, and was probably born in Millières, a village in the Cotentin near Lessay and Périers. He was a clerk of Theobald of Bec, Archbishop of Canterbury before becoming Archdeacon of Exeter in 1155. He was a correspondent of John of Salisbury, as he and John had been clerks for Theobald along with Thomas Becket. Contemporaries considered Bartholomew an excellent theologian and canon lawyer. In 1159, Bartholomew took part in a synod held at London to decide between the rival claims of Popes Alexander III and Victor IV. At some point in his career, he taught at the law school at Paris.
## Election to Exeter
After the death of Robert of Chichester, the see of Exeter was vacant for a year before a local Gloucestershire family urged King Henry II of England to put forward one of their members as a candidate for the see. Henry did suggest the family member, Henry FitzHarding, to the cathedral chapter, but Archbishop Theobald objected that FitzHarding was unqualified. Instead, Theobald suggested Bartholomew, and eventually the king was persuaded and Bartholomew was elected. He was consecrated bishop after 18 April 1161, at Canterbury Cathedral by Walter, the Bishop of Rochester. Theobald had wished to consecrate Bartholomew himself before Theobald died, but could not because the king was abroad in Normandy and the bishop-elect had to swear fealty to the king before he could be consecrated. After his consecration, Bartholomew gave the archdeaconry of Exeter to the disappointed royal candidate.
## Time as bishop
During the Becket controversy between King Henry and Thomas Becket, the new Archbishop of Canterbury, Bartholomew refused to cooperate with either side, which caused the archbishop to scold him as a bad friend. At the start of the dispute, Bartholomew was sent with a royal deputation to Sens to ask the pope to send papal legates to England to settle the quarrel. Thereafter, he avoided being drawn into the controversy, until 1170. When Roger of York crowned Henry the Young King later that year, Bartholomew was said to be present. In September 1170, Pope Alexander III suspended Bartholomew from office for attending the coronation, along with a number of other bishops. After Becket's murder in late 1170, John of Salisbury took refuge with Bartholomew until John was elected Bishop of Chartres in 1176. Shortly after a settlement of the dispute was reached in 1172, Henry wrote to Bartholomew saying that "I shall abolish all new customs introduced in my reign against the churches of my land (which I consider to be few or none)", which signaled Henry's intentions of mostly ignoring the settlement. Bartholomew was restored to his office before 21 December 1171, when he helped restore Canterbury Cathedral to use for religious ceremonies.
Early in his episcopate, Bartholomew attended Alexander III's council at Tours in 1163, along with a number of other English bishops. Bartholomew often acted as a judge-delegate for the papacy in cases that had been appealed to Rome. Alexander described Bartholomew, in company with Richard of Dover, another leading papal judge, as the "twin lights illuminating the English Church". In his diocese, Bartholomew is known to have visited the parishes, conducting a visitation to inquire into the management or mismanagement of church affairs. He also gave vestments and decorative objects to his cathedral church. After Becket's death, Bartholomew attended the royal court regularly between 1171 and 1179, but most of his efforts went towards administering his bishopric.
## Death and legacy
Bartholomew died on 15 December 1184, and was probably buried in Exeter Cathedral. A relief in Exeter has been identified as possibly Bartholomew's effigy for his tomb. A contemporary writer, Gerald of Wales, said that Bartholomew was better educated in Roman law than in canon law. The historian Austin Lane Poole said of him that he "kept out as much as possible out of secular politics, and used [his] learning and practical abilities whole-heartedly for the welfare of the church." During his bishopric, he advanced the career of Baldwin of Forde, as it was Bartholomew who made Baldwin archdeacon. He had two nephews, Jordan and Harold, who were part of his household while he was at Exeter.
At some point in his career, he wrote a Penitentiale, or penitential, which true to his canon lawyer training, quotes canon law extensively. This was based on the works of Ivo of Chartres, Burchard of Worms, Gratian, and Peter Lombard, among other authors. Besides his penitential, Bartholomew also wrote works on the doctrines of free will and predestination, entitled either De libero arbitrio or De fatalitate et fato, a collection of over a hundred sermons, and a work against Jews, entitled Dialogus contra Judaeos. So far, only the penitential has been printed. A sermon on the death of Becket by Bartholomew was seen by John Bale in the 16th century at Oxford, but it has not survived to the present. | [
"## Early life",
"## Election to Exeter",
"## Time as bishop",
"## Death and legacy"
] | 1,288 | 2,021 |
1,675,664 | Pacorus I | 1,147,036,805 | Prince of the Parthian Empire (died 38 BC) | [
"1st-century BC Iranian people",
"38 BC deaths",
"Generals of the Parthian Empire",
"People of the Roman–Parthian Wars"
] | Pacorus I (also spelled Pakoros I; Parthian: 𐭐𐭊𐭅𐭓; died 38 BC) was a Parthian prince, who was the son and heir of Orodes II (r. 57–37 BC). The numismatist David Sellwood deduced that Pacorus ruled in c. 39 BC. It is uncertain whether Pacorus ruled alongside his father, or ruled independently. His wife was an unnamed Armenian princess, who was a sister of the Artaxiad king of Armenia, Artavasdes II (r. 55–34 BC).
Following the Parthian victory against the Romans at the Battle of Carrhae in 53 BC, the Parthians attempted to capture Roman-held territories in Western Asia, with Pacorus acting as one of the leading commanders. Although they were initially successful, they were repelled by the Romans. Pacorus himself was defeated and killed at the Battle of Mount Gindarus by the forces of the Publius Ventidius Bassus. His death spurred a succession crisis in which Orodes II, deeply afflicted by the death of his favourite son, relinquished the throne to his other son Phraates IV (r. 37–2 BC) as his new heir.
## Name
The name Pacorus is the Latin form of the Greek Pakoros (Πακώρος), itself a variant of the Middle Iranian Pakur, derived from Old Iranian bag-puhr ('son of a god'). The Armenian and Georgian transliteration is Bakur (respectively; Բակուր, ბაკური).
## Biography
Pacorus was the eldest son and heir of Orodes II (r. 57–37 BC), the ruler of the Parthian Empire. His mother may have been a princess from the peripheries of eastern Parthia. Shortly before the Battle of Carrhae (modern Harran, southeastern Turkey) ensued between the Parthians and a Roman army, commanded by the triumvir, Marcus Licinius Crassus, Orodes II invaded Armenia, cutting off Crassus's support from his ally, the Artaxiad king Artavasdes II (r. 55–34 BC). Orodes II persuaded Artavasdes to a marriage alliance between Pacorus and Artavasdes's sister.
Following Crassus's defeat and death at Carrhae, the Parthians attempted to capture Roman-held territories in Western Asia. Pacorus and his commander Osaces raided Syria, going as far as Antioch in 51 BC, but were repulsed by Gaius Cassius Longinus, who ambushed and killed Osaces. Orodes II sided with Pompey in the civil war against Julius Caesar and even sent troops to support the anti-Caesarian forces at the Battle of Philippi in 42 BC. Quintus Labienus, a general loyal to Cassius and Brutus, sided with Parthia against the Second Triumvirate in 40 BC; the following year he invaded Syria alongside Pacorus. The triumvir Mark Antony was unable to lead the Roman defense against Parthia due to his departure to Italy, where he amassed his forces to confront his rival Octavian and eventually conducted negotiations with him at Brundisium.
After Syria was occupied by Pacorus's army, Labienus split from the main Parthian force to invade Anatolia while Pacorus and his commander Barzapharnes invaded the Roman Levant. They subdued all settlements along the Mediterranean coast as far south as Ptolemais (modern Acre, Israel), with the exception of Tyre. In Judea, the pro-Roman Jewish forces of high priest Hyrcanus II, Phasael, and Herod were defeated by the Parthians and their Jewish ally Antigonus II Mattathias (r. 40–37 BC); the latter was made king of Judea while Herod fled to his fort at Masada.
Despite these successes, the Parthians were soon driven out of the Levant by a Roman counteroffensive. Publius Ventidius Bassus, an officer under Mark Antony, defeated and then executed Labienus at the Battle of the Cilician Gates (in modern Mersin Province, Turkey) in 39 BC. Shortly afterward, a Parthian force in Syria led by general Pharnapates was defeated by Ventidius at the Battle of Amanus Pass. As a result, Pacorus temporarily withdrew from Syria. When he returned in the spring of 38 BC, he faced Ventidius at the Battle of Mount Gindarus, northeast of Antioch. Pacorus was killed during the battle, and his forces retreated across the Euphrates. His death spurred a succession crisis in which Orodes II, deeply afflicted by the death of his favourite son, relinquished the throne to his other son Phraates IV (r. 37–2 BC) as his new heir.
The numismatist David Sellwood deduced that Pacorus ruled in c. 39 BC. It is uncertain whether Pacorus ruled alongside his father, or ruled independently.
## In literature
The medieval Muslim writer al-Tha'alibi (died 1038) reported that Pacorus (whom he referred to as Afqūr Shāh) recovered the Derafsh-e Kaviani, and made campaigns into Roman territory to avenge Alexander the Great's conquest of Persia. | [
"## Name",
"## Biography",
"## In literature"
] | 1,170 | 27,319 |
4,515,932 | Ghost in the Shell: Stand Alone Complex - Solid State Society | 1,170,133,671 | 2006 film directed by Kenji Kamiyama | [
"2006 anime OVAs",
"2006 films",
"Anime films based on manga",
"Bandai Entertainment anime titles",
"Bandai Visual",
"Films set in 2034",
"Ghost in the Shell films",
"Japanese 3D films",
"Japanese animated science fiction films",
"Production I.G",
"Stand Alone Complex"
] | Ghost in the Shell: Stand Alone Complex - Solid State Society (Japanese: 攻殻機動隊 STAND ALONE COMPLEX Solid State Society, Hepburn: Kōkaku Kidōtai Sutando Arōn Konpurekkusu Soriddo Sutēto Sosaieti) is a 2006 science fiction anime film and part of the Ghost in the Shell: Stand Alone Complex series based on Masamune Shirow's manga Ghost in the Shell. It was produced by Production I.G and directed by Kenji Kamiyama.
The film is set in 2034, two years after the events of 2nd GIG. Togusa is now the team leader for Public Security Section 9, which has increased considerably in size. Section 9 deals with a series of complicated incidents, including the assassination of Ka Rum, a former dictator of the Siak Republic, which leads to a terrorist plot using children as vectors for a cybernetic virus. Investigations reveal that a hacker nicknamed "The Puppeteer" is behind the entire series of events.
The film, which had a production budget of 360 million yen, premiered in Japan on SKY PerfecTV! on September 1, 2006, and later aired in the United States on Sci-Fi Channel's Ani-Monday programming block on June 11, 2007. A stereoscopic 3D version of the film was released in 2011. The film received generally positive reviews, but was criticized for being dialogue-heavy and lacking in action, something many felt the Stand Alone Complex television series did a better job balancing.
## Plot
In 2034, two years after the events of 2nd GIG, Public Security Section 9 is investigating a string of mysterious suicides by refugees from the Siak Republic. Chief Aramaki conducts a raid to arrest the refugee dictator only to find him already dead. In retaliation, a Siak operative plans a terrorist attack with a micromachine virus. Batou is sent to intercept the Siak operative and encounters Kusanagi, who is conducting her own investigation. Before they can apprehend the operative, he dies while attacking them. Kusanagi takes a case of virus ampules and warns Batou to stay away from the Solid State Society before leaving.
Section 9 operatives develop a theory that a hacker known as the Puppeteer or 傀儡廻 (Kugutsumawashi, literally 'Puppet Spinner', contrasted with the original film Puppet Master who was 人形使い Ningyō-zukai, literally 'Doll Handler') is responsible for Siak agents' forced suicides and Togusa discovers sixteen kidnapped children who were intended carriers of the virus. All the children are listed as the children of Noble Rot Senior Citizens and Section 9 begins to suspect a larger conspiracy when they are part of a larger body of 20,000 children.
Soon afterwards, the Puppeteer causes the disappearance of the sixteen children and Batou reveals to Togusa that he believes Kusanagi to be the Puppeteer. Section 9 next intercepts a Siak sniper that is targeting the supposed mastermind of Ka Rum's assassination. After his capture it is revealed the informant and the target are one and the same. The sniper says that the Puppeteer is a mechanism in the Solid State and cannot be killed.
Togusa tracks down one of the missing children, now assigned to an elderly man in the Noble Rot program. As Togusa tries to take the child, the man awakens and demands the child be left with him as he had named the child as his sole heir. He would rather give his assets to a child off the street and to protect them from abuse than have his assets turned over to the government upon his death. The man immediately dies after warning Togusa not to interfere with the will of the Solid State.
Later, Togusa receives a call from the Puppeteer who hacks his brain and forces him to drive to a cyberbrain implant hospital with his daughter. The Puppeteer and Togusa converse, and Togusa is given the option to lose his daughter to the Solid State or commit suicide. He chooses suicide but is saved by Kusanagi who then identifies the Puppeteer as a rhizome formed by the collective consciousness of the Noble Rot Senior Citizens located in a welfare center.
Kusanagi temporarily rejoins Section 9 and confirms that Ito Munei, an influential politician, was behind the assassination of General Ka Rum. She also confirms that Munei and other politicians use it as a front for a brainwashing facility to create an elite group of pure-blooded Japanese to take control of the country in the next generation and lead it into Munei's vision of a new Golden Age. The Solid State decided to eliminate Munei for interfering in its plans, but Munei was ignorant of the origin of the abduction infrastructure.
A designer named Tateaki Koshiki steps forward, claiming he developed the Solid State system before committing suicide. Kusanagi dives into his cyberbrain and into Koshiki's trap, allowing him to hack her cyberbrain. The Puppeteer reveals that he was spread across several egos until a collective consciousness emerged and developed into a Solid State, allowing him to move into the society beyond as the vanishing mediator. Later, Batou tells a recovering Kusanagi that the real Tateaki Koshiki used a prosthetic body and built the Solid State after he was hired by Munei.
Kusanagi does not reveal that the Puppeteer was a fragment of herself, but Batou already knew from being linked to her during the dive. Batou concludes that the ultimate identity of the Puppeteer will remain unknown and that incident will be written off as a scandal. Kusanagi implies that she will permanently rejoin Section 9 after years of wandering the net on her own.
## Cast
## Production
The film was initially hinted as a new anime project collaboration with Bandai Visuals and Production I.G. The film was officially announced by Production I.G at the 2006 Tokyo Anime Fair. Whether the film would be released theatrically, broadcast on television, or released direct-to-DVD was undecided at the time. The film had a production budget of 360 million yen (equivalent to US\$4.3 million). It was produced in Hi-vision format and was made by the same staff that originally made the TV series.
The production team used a 3-D layout system to render the interior shots ahead separately and in advance. The art team was tasked to draw lighting boards to show the position of light sources in the scene to improve the overall quality of the animation. One of the themes in the series was "Motoko Kusanagi's rebirth". The team had a difficult time portraying Motoko Kusanagi and her return to Section 9. Kenji Kamiyama stated that he felt the characters have obtained "ghosts" of their own and that Kusanagi needed a convincing story in order to return to Section 9. Shotaro Suga noted that Kusanagi was more going back to her old self rather than showing the new strength she found when she left Section 9.
For the music, Yoko Kanno read the scripts of the film in order to compose music that would synchronize with each scene, rather than composing music ahead of time. Sound Director Kazuhiro Wakabayashi returned to provide music menus, which made up of 70% of the scores Yoko Kanno composed.
As part of the Nissan sponsorship, the movie features two concept cars designed by Nissan. Togusa drives a white Nissan Sport Concept sports hatchback, Aramaki and Ichikawa are seen travelling in the 7-seater Infiniti Kuraza that premiered at the 2005 New York International Auto Show and North American International Auto Show.
## Releases
The film debuted in Japan on SKY PerfecTV! on September 1, 2006. It premiered in North America at the 2007 New York Comic Con screening from February 23–25, and also featured in 2007's Fantasia Festival in Canada. The English version was released on July 3, 2007. The Limited Edition Steelbook contained an additional DVD containing various development interviews and videos and the Solid State Society Original Soundtrack CD. In July 2008, Solid State Society was released in Blu-ray alongside the two OVA The Laughing Man and Individual Eleven in Ghost in the Shell: S.A.C. Trilogy Box.
In November 2010, a stereoscopic 3D version was announced adding a new opening sequence. The 3D version was released in Tokyo's Shinjuku Wald 9 theater on March 26, 2011. The stereoscopic 3D version was released in both normal and deluxe edition on July 22, 2011. The normal version contains opening-day greetings by the staff and cast, film advertisements, and audio commentaries. The deluxe edition titled Ghost in the Shell: Stand Alone Complex Solid State Society -Another Dimension- is packaged in a Dennōka Box containing the film in Stereoscopic 3D all the content the normal edition along with three Tachikomatic Days shorts in 3D and one in 2D.
A novel adaptation titled Ghost in the Shell: S.A.C. Solid State Society (攻殻機動隊S.A.C. Solid State Society), written by Kenji Kamiyama and his understudy Yasunori Kasuga, was published by Kodansha and released on March 3, 2011. An optical camouflage camera app for iOS was released on September 2, 2011. A video game for the Xbox 360 Kinect was developed by Kayac to promote the 3D remake of the film.
## Reception
Christopher Monfette of IGN gave Solid State Society an "Impressive" score of 8.0 out of 10, stating that it was "A worthwhile watch". Carl Kimlinger of Anime News Network gave the film a "B" rating, calling it a "swift-moving futuristic crime film with some clever science-fiction twists and solid action" but criticizing it was "wordy, confusing and somewhat bloodless." The film earned a 1.4% rating when it aired in NTV on October 15, 2012.
Marcus Doidge of DVD Active gave it a 6/10 stating, "Solid State Society isn't as strong as the first and second season of the anime show but being one feature length story as opposed to lots of very cool and largely great individual episodes offers a more in depth and focused story for the most part and a happy return to the world of Ghost in the Shell". The film was awarded the Juri Prize at the 21st Digital Content Grand Prix. The film was featured in the "Late Night Manga to Anime Film Season" hosted by The British Museum. The DVD released ranked No. 1 on Oricon charts on November 23, 2006.
The 3D version ranked at No. 11 in the Japanese box office chart with a total of \$285,268 from a total of nine theaters. The 3D version won the Movie award for The Japanese Committee of the International 3D Society. | [
"## Plot",
"## Cast",
"## Production",
"## Releases",
"## Reception"
] | 2,324 | 6,375 |
4,956,346 | L.A. Takedown | 1,173,771,340 | 1989 television film directed by Michael Mann | [
"1980s American films",
"1980s English-language films",
"1980s heist films",
"1989 crime thriller films",
"1989 films",
"1989 television films",
"American crime thriller films",
"American heist films",
"American mystery television films",
"American police detective films",
"English-language crime thriller films",
"Fictional portrayals of the Los Angeles Police Department",
"Films about bank robbery",
"Films directed by Michael Mann",
"Films set in Los Angeles",
"Films shot in Los Angeles",
"Films with screenplays by Michael Mann",
"NBC network original films"
] | L.A. Takedown, also called L.A. Crimewave and Made in L.A., is a 1989 crime thriller. Originally filmed as an unsuccessful pilot for an NBC television series, it was reworked and aired as a stand-alone TV film. The film was later released on VHS and, in Region 2, on DVD. L.A. Takedown was written and directed by Michael Mann and its ensemble cast includes Scott Plank, Alex McArthur, Michael Rooker, Daniel Baldwin, and Xander Berkeley. Scott Plank starred as Vincent Hanna, a detective on the hunt for professional criminal Patrick McLaren, played by McArthur; the story was based on the real-life investigation of Chicago criminal Neil McCauley. The film is best known as the basis for the 1995 film Heat. The film was moderately well received in retrospective reviews, but remains overshadowed by its remake.
## Synopsis
Los Angeles robbery-homicide sergeant Vincent Hanna (Plank) is on the trail of a gang of ruthless professional criminals, led by the methodical Patrick McLaren (McArthur), whose only mistake in the last heist was the killing of armored car guards by the new recruit, Waingro (Berkeley), who is a loose cannon. But Hanna is soon surprised when he discovers that he and McLaren have quite a lot in common. While McLaren and his gang plan another heist, Hanna and his colleagues keep surveillance. Hanna is facing a personal problem, as the police work is straining his relationship with his wife, Lillian (Pouget). Moreover, McLaren is also facing a similar problem when he finds himself falling in love with Eady (Harrington), which he condemns due to the commitment required to his profession.
Things then take a turn for the worse, as McLaren unsuccessfully attempts to kill Waingro, who in turn betrays the team to the police. When Hanna arrives on the scene unexpectedly with the police, McLaren and his crew engage them in a mid-street shootout, in which most of McLaren's crew are killed. After making an unlikely escape, McLaren is presented with an opportunity to leave Los Angeles for a new life with Eady, but he decides to first take revenge for Waingro's betrayal. After McLaren tracks down Waingro to a hotel room, he is ambushed by Hanna and his team. Waingro takes advantage of the confusion to shoot McLaren through a closed door. While Hanna advises Waingro of his options in jail, for a string of previous murders, Waingro resists arrest and tries to pull a gun. In self-defence, Hanna forces Waingro through a hotel window, and Waingro falls fifteen floors to his death. In the final sequences, Hanna is reunited with his wife.
## Cast
- Scott Plank as Vincent Hanna, sergeant of detectives working for the Los Angeles Police Department Robbery-Homicide division.
- Alex McArthur as Patrick McLaren, professional robber, head of his own gang of criminals.
- Michael Rooker as Detective Bosko, Hanna's second-in-command.
- Ely Pouget as Lillian Hanna, Vincent Hanna's estranged wife.
- Vincent Guastaferro as Michael Cerrito
- Victor Rivers as Detective Arriaga
- Richard Chaves as Detective Lou Casals
- Laura Harrington as Eady, McLaren's love interest.
- Peter Dobson as Chris Sheherlis
- Xander Berkeley as Waingro, a new recruit to McLaren's gang.
- Daniel Baldwin as Detective Bobby Schwartz
- R.D. Call as Harry Dieter
- Juan Fernández as Harvey Torena
- Clarence Gilyard, Jr. as Mustafa Jackson
- Cary-Hiroyuki Tagawa as Hugh Benny
The majority of the main cast appeared as guest stars in episodes of one or both of Michael Mann's two shows produced in the 1980s, Miami Vice and Crime Story.
## Background and production
The origins of L.A. Takedown lay in real life. Michael Mann, the film's producer and screenwriter, cited producer, screenwriter and Chicago ex-police officer Chuck Adamson as an inspiration for the character of Vincent Hanna. Mann, who collaborated with Adamson on Miami Vice and Crime Story and several minor projects, was told of an investigation Adamson partook in. In 1963, he was investigating Neil McCauley, a professional robber. According to Mann, "one day they simply bumped into one another. [Adamson] didn't know what to do: arrest him, shoot him or have a cup of coffee." Adamson later killed McCauley in a stand-off after a failed robbery.
In 1979, Mann wrote an early 180-page draft for the screenplay. After making his first feature film, Thief, he re-wrote the draft. In a 1983 interview, he mentioned he was planning to make a film based on the draft and was looking for someone to direct it. He later offered the director position to Walter Hill, but Hill refused. In the late 1980s, NBC commissioned Mann to produce a new television series. Mann felt the draft would make a good pilot episode, but decided to set the story in Los Angeles, deeming the L. A. Robbery–Homicide Division a better basis for a TV show. He took the 180-page screenplay and edited out roughly 110 pages to make room for a 90-minute pilot. However, the new series was not picked up by the network. Instead, it was released as a television film entitled L.A. Takedown.
The pilot was shot in nineteen days, with ten days of pre-production, which was noted atypically fast for Mann. The film score was written by Tim Truman, and cinematography done by Ron Garcia. The soundtrack also featured the song "L.A. Woman" performed by Billy Idol.
## Release and reception
Mann had cast Scott Plank in the role of Hanna, which was not well received by NBC. They expressed interest in buying the series on the condition of finding a new lead actor, but Mann refused, leading to NBC's rejecting the show. The unsuccessful pilot was, however, aired as a television film on NBC on August 27, 1989 at 9:00 pm. In 1990, it was released on VHS in Finland, with several other European countries following in the early 1990s. On March 19, 2008, a DVD of the movie was released in Germany, featuring several scene selections as bonus content.
L.A. Takedown received mixed-to-positive reviews from film critics, with its acting being the most poorly received. On its first airing, The Globe and Mail gave the film a two star rating. Hal Erickson of AllRovi compared the film to Mann's cult TV series Miami Vice, but felt it emphasized style over substance. Dragan Antulov for Movie Reviews in Croatian (Croatian: Filmske recenzije na hrvatskom), in comparing the film with its remake, Heat, praised Mann's choice to hire unknown actors for L.A. Takedown, which contrasted with big stars in Heat. Although he derided Berkeley's performance as Waingro, he concluded that it was "a fine companion piece to Heat." A reviewer from Lexikon des Internationalen Films of Germany was less enthusiastic, citing routine action sequences and a confusing plot due to the overly large cast. Lol Frost of Empire gave L.A. Takedown two out of five stars, acknowledging the worthiness of the plot, but citing lack of Mann's typical filming style. Frost concluded that the film was "a bit of a dud, but a noble effort."
## Remake
After directing The Last of the Mohicans, Mann decided to remake L.A. Takedown into a wide release cinema feature. He viewed the film as a dry run for the original story, which was a complex, multi-layered crime drama edited out of the script for the television film. He consulted a longer 1986 draft to work on the remake. Having made L.A. Takedown, Mann felt he had a much better idea of how he wanted to structure the remake, saying: "I charted the film out like a 2 hr 45 min piece of music, so I'd know where to be smooth, where not to be smooth, where to be staccato, where to use a pulse like a heartbeat."
On April 5, 1994, Mann was reported to have abandoned an earlier plan to produce a James Dean biographical film in favor of the L.A. Takedown remake, entitled Heat. Heat was made on a budget with a strong cast, and released in 1995. It featured Al Pacino as Vincent Hanna, Robert De Niro in the role of Patrick McLaren, now renamed Neil McCauley, Val Kilmer as Chris Shiherlis, Mykelti Williamson as Arriaga, now renamed Drucker, Diane Venora in the role of Lillian, now renamed Justine, and Ted Levine as Schwartz, now renamed Bosko. (Xander Berkeley, who played Waingro in L.A. Takedown, makes a brief appearance as a man who has a one-night stand with Justine.) The film was met with critical acclaim and grossed , becoming a financial success.
Not only featuring a bigger budget and well-known actors, Heat also had significant storyline differences when compared to L.A. Takedown. Among other things, the remake included Chris Shiherlis' gambling addiction, the subplot concerning Roger Van Zant and his attempt to double-cross the crew (in this film Waingro plots against the crew by himself), and Hanna's troubled stepdaughter—plot elements not present in the original film. Because of this, Heat runs nearly twice the length of L.A. Takedown. Nowadays, L.A. Takedown is best known for being the basis of Heat, and is often compared to it in an unfavorable light. | [
"## Synopsis",
"## Cast",
"## Background and production",
"## Release and reception",
"## Remake"
] | 2,055 | 27,055 |
3,024,306 | Paul Reinhart | 1,168,428,949 | Canadian ice hockey defenceman (born 1960) | [
"1960 births",
"Atlanta Flames draft picks",
"Atlanta Flames players",
"Calgary Flames players",
"Canadian ice hockey defencemen",
"Canadian people of German descent",
"Ice hockey people from Kitchener, Ontario",
"Kitchener Rangers players",
"Living people",
"National Hockey League All-Stars",
"National Hockey League first-round draft picks",
"Vancouver Canucks players"
] | Paul Gerard Reinhart (born January 6, 1960) is a Canadian former professional ice hockey defenceman who played for the Atlanta Flames, Calgary Flames and Vancouver Canucks in the National Hockey League (NHL). He featured in the 1986 Stanley Cup Finals with the Flames.
Reinhart was a first round selection by Atlanta, 12th overall, at the 1979 NHL Entry Draft, and immediately broke into the NHL, becoming one of the most underrated defenseman of the 1980s. He relocated with the franchise to Calgary in 1980, playing a total of nine seasons with the Flames franchise until he was traded to Vancouver in 1988. He was a two-time all-star and played with Team Canada on three occasions, winning bronze medals at the World Championships in 1982 and 1983. Chronic back problems plagued him throughout his career and forced his retirement in 1990.
Settling in Vancouver following his playing career, Reinhart became a stock market financier and investor. He was briefly involved with the Vancouver Ravens of the National Lacrosse League in the early 2000s.
## Playing career
### Junior
Reinhart began his junior career with his hometown Kitchener Rangers of the Ontario Major Junior Hockey League (OMJHL) in 1975–76, scoring 39 points in 53 games. He had been a protected player of the Rangers — signed directly by the team without his having to go through the league's draft—but when the OMJHL eliminated the rules allowing teams to protect midget-aged players following the season, he was made eligible for the 1976 draft. The Peterborough Petes claimed him with the third overall selection in the June 1976 draft, despite the fact that Reinhart and his family made it known he would refuse to play for any team other than Kitchener. His agent, Alan Eagleson, threatened to take the team and league to court in a bid to force them to respect Reinhart's wishes. The dispute was not settled until November when the Petes traded Reinhart to Kitchener as part of a three-team trade that involved the Oshawa Generals. The league had to rescind a rule prohibiting teams from trading first round draft picks to allow the deal to pass and to avoid the threat of litigation by Eagleson.
On the ice, Reinhart scored a total of 104 points as a defenceman with the Rangers between 1975 and 1978 before breaking out offensively in the 1978–79 season after moving centre for the majority of the campaign. He scored 51 goals and 78 assists for 129 points in 66 games to finish fifth overall in OMJHL scoring. The team's captain in his final year, Reinhart won numerous team honours during his four years in Kitchener including three awards for having the "best defensive ability" on the team.
### Professional
The Atlanta Flames selected Reinhart with their first round selection, 12th overall, at the 1979 NHL Entry Draft. Though he had been set to join Team Canada for the 1980 Winter Olympics, the Flames convinced Reinhart to sign with the team and begin his professional career instead. Joining the Flames for the 1979–80 NHL season, the 19-year-old Reinhart became the youngest player to appear for the team at that point in franchise history. He appeared in 79 games for Atlanta, finishing as the team's highest scoring defenceman. His total of 47 points was second to Ray Bourque for the overall lead amongst rookie defencemen.
Transferring to Calgary along with the franchise in 1980–81, Reinhart improved to 67 points during the regular season and tied for the league lead in playoff assists with 14. He was named to the Canadian entry for the 1981 Canada Cup tournament, but suffered an ankle injury and appeared in only two games. He remained an offensive catalyst for the team, scoring 61 points in 1981–82 and set a franchise record for points by a defenceman with 75 in 1982–83. His career total of 250 points also set a Flames franchise record for a defenceman. He returned to Team Canada following both seasons to play in the World Championships. He won bronze medals with the team in both 1982 and 1983, and was named Team Canada's top defenceman in 1983.
Reinhart suffered a serious injury midway through the 1983–84 season. Skating behind his net during a game against the Winnipeg Jets, his skate caught a rut and he twisted his back as he fell. He had to be carried off the ice on a stretcher, and was initially diagnosed with back spasms. He was later diagnosed as having suffered a herniated disc. He missed 51 games as a result of the injury, but scored a goal and an assist on his return, a 4–1 victory over the Hartford Whalers. Despite missing the majority of the season, Reinhart was the Flames' offensive leader in the 1984 playoffs, leading the team and finishing first amongst all players who did not reach the finals with 17 points.
Though he turned down an offer to play with Team Canada at the 1984 Canada Cup due to his back, Reinhart remained healthy for the 1984–85 season, scoring a career high 23 goals to go with 67 points in 75 games. He also appeared in his first NHL All-Star Game, playing in front of his home fans at the 1985 game in Calgary. Recurring back spasms again forced him to miss much of the 1985–86 season; he was limited to 32 games. Reinhart remained healthy in 1986–87, finishing fourth in the league amongst defencemen with 69 points. He scored his 100th career goal, playing at centre, while recording a hat trick in a 6–5 win over the Edmonton Oilers on November 24, 1986. His chronic back issues worsened in 1987–88, as he played only 14 games for the Flames, scoring four points.
Between his back issues and the team's desire to promote some of its younger defencemen to more prominent roles within the team, the Flames chose to trade Reinhart on September 6, 1988, along with Steve Bozek, to the Vancouver Canucks in exchange for a third round selection at the 1989 NHL Entry Draft. Reinhart played the majority of two seasons in Vancouver, though he missed 29 games between 1988 and 1990. He was named an All-Star for the second time in his career in 1989, and was an offensive leader for the Canucks. He scored 57 points in both 1988–89 and 1989–90, and was named the recipient of the Babe Pratt Trophy as the Canucks' top defenceman in both seasons. However, chronic back pain forced him out of the game following that season. Reinhart announced his retirement at the age of 30.
## Playing style
Though his position for the majority of his career was in defence, his offensive ability and speed meant that his teams occasionally played him at forward. At times, the Flames had him playing 30 minutes per game as he was often used at centre while also taking regular shifts at defence. He claimed in 1982 to prefer playing forward, but realized that the organization needed him on defence to act as a quarterback for the team's offence. Bob Johnson, his coach for the majority of his time in Calgary, said that Reinhart was the type of player that could be a "cornerstone" for a franchise.
## Personal life
Reinhart and his wife Theresa have three children, all of whom play hockey. Their eldest son, Max, made his NHL debut with the Flames in 2013. His middle son, Griffin was drafted 4th overall in the 2012 NHL Entry Draft by the New York Islanders. His youngest son, Sam, was selected 2nd overall in the 2014 NHL Entry Draft by the Buffalo Sabres. In 2021 offseason Sam was traded to the Florida Panthers. Paul and his wife spent their summers in Calgary during his playing days, where he often played with the team's summer charity softball team, but settled in West Vancouver following the end of his NHL career.
Flames' co-owner Doc Seaman introduced Reinhart to investing and finance while he was playing with the team. He also owned a restaurant in Calgary. He now makes his living investing in start-up companies. Reinhart's investments have focused on resource exploration and medical companies and in 2011 joined the management of Vancouver-based Bearing Resources Ltd. He was involved with the Vancouver Ravens franchise in the National Lacrosse League for a time, but walked away from the franchise in 2003 after claiming losses in excess of \$1 million. In 2014, Reinhart partnered with another former Vancouver Canuck, Bret Hedican, investing over \$1 million in a sports team management start-up, RosterBot, based in Vancouver.
## Career statistics
### Regular season and playoffs
### International
## See also
- List of family relations in the NHL | [
"## Playing career",
"### Junior",
"### Professional",
"## Playing style",
"## Personal life",
"## Career statistics",
"### Regular season and playoffs",
"### International",
"## See also"
] | 1,919 | 9,339 |
15,113,061 | The Distrest Poet | 1,157,277,272 | Painting by William Hogarth | [
"1736 paintings",
"1740 works",
"Books in art",
"Cats in art",
"Collections of Birmingham Museum and Art Gallery",
"Dogs in art",
"Paintings by William Hogarth",
"Prints by William Hogarth"
] | The Distrest Poet is an oil painting produced sometime around 1736 by the British artist William Hogarth. Reproduced as an etching and engraving, it was published in 1741 from a third state plate produced in 1740. The scene was probably inspired by Alexander Pope's satirical poem The Dunciad. It depicts a scene in a small, dingy attic room where a poet sits at his desk in the dormer and, scratching his head, stares at the papers on the desk before him, evidently looking for inspiration to complete the poem he is writing. Near him sits his wife darning clothes, surprised by the entrance of a milkmaid, who impatiently demands payment of debts.
## Background
The engraving of The Distrest Poet in its third state was issued on 15 December 1741 as a companion piece to The Enraged Musician, a comic scene of a violinist driven to distraction by the noise from the street outside his practice room. The initial plate for The Distrest Poet was produced soon after Hogarth had completed the oil painting, but the third state plate was not completed until late in 1740 at which time Hogarth advertised his intention to issue a three-image set: The Provok'd Musician, The Distrest Poet, and a third image on the subject of "Painting". The Provok'd Musician (renamed The Enraged Musician) was produced in 1741 but the third image was never completed.
## Picture
The scene is set in a small and messy garret, sparsely furnished by a few pieces of crude furniture. The room is poorly kept, with cracking plaster, a broken window and uneven floor, and a bare cupboard. In this way, Hogarth underlines the desperate circumstances of the occupants and the poverty of the family.
Starved of inspiration and suffering writer's block, the poet sits on the end of his bed in his night gown, quill in hand, scratching his head. A copy of Edward Bysshe's The Art of English Poetry, a guide to composition published in 1702, lies open on the table. A copy of Pope's satirical Grub Street Journal lies on the floor near his feet.
A few feet to his right sits his wife, darning the clothes on her lap and those sprawled on the floor, where a cat sits, while a crying infant, who is upset and hungry, goes unattended in the only bed. Next to the poet's wife, by the open door, an angry milkmaid presents her substantial bill, demanding payment for milk, underlining the poet's refusal to provide for his family by getting himself a proper job. The cupboard stands open and empty, save for a mouse; near the door, a dog steals the last of the family's food from a plate.
Other, less obvious, elements of the painting reveal more about the poet's personality and ideas. The poem he is attempting to write is entitled "Upon Riches", which suggests that the poet lives in a fantasy world, while his wife and child go hungry. Ned Ward's first published poem in 1691 was The Poet's Ramble After Riches, which satirised his own struggles as an impoverished aspiring poet, and Hogarth may have had this in mind when he produced the picture. Earlier impressions showed the poem as "Poverty, A Poem", which hinted at a connection to Theobald who had written "The Cave of Poverty, A Poem, Written in Imitation of Shakespeare" in 1714. The poet's dreams of riches are further suggested by the map that hangs over his head, entitled "A View of the Gold Mines of Peru", replacing the image of Pope that appears in the earlier states of the print. The poet's self-interest is hinted by the presence of his pipe and tobacco on the window sill, the mug of beer sitting on the chair in the back of the room, the lace cuffs drying by the fire, his ill-fitting wig, and gentleman's sword lying at his feet; it may be that despite his family's circumstances, he refuses to forgo his own personal pleasures and effects. Alternatively, his fantasy of earning a fortune from his art may require that he keeps his gentlemanly accoutrements around him, as they will be required when his fantasies are realized.
### Alexander Pope
The scene shown in The Distrest Poet was probably inspired by Alexander Pope's satirical poem The Dunciad, most likely by the prefatory matter of the second version, the Dunciad Variorum, which had been published in 1735 and in which Pope confirmed his authorship of the original. The painting and early states of the print included a quotation from Pope's work:
> Studious he sate, with all his books around,
> Sinking from thought to thought, a vast profound:
> Plunged for his sense, but found no bottom there;
> Then wrote and flounder'd on, in mere despair.
The bill stuck to the wall above the poet's head originally featured a reference to Pope in which he was punningly mocked as "His Holiness Pope Alexander", depicted as an ape wearing a papal tiara with an ass as his Prime Minister. The initial states of the print kept the quotation but replaced the genuine bill with a representation (which appears to have been entirely invented by Hogarth rather than copied from a real bill) of Pope clashing with Edmund Curll over the unauthorised publication of the poet's correspondence. Although Hogarth and Pope had never met, this literary inspiration led to speculation as to the identity of Hogarth's poet as one of the targets of Pope's satire. Ned Ward, the author of The London Spy was a strong contender, as was Lewis Theobald, to whom the lines quoted from Pope in Hogarth's original print referred.
How far Hogarth sympathised with Pope is questionable. The original bill mocked him, but it featured in an image that, at the least, poked fun at the poor poet who was the subject. Hogarth may have been suggesting either that poet was showing contempt for Pope or that he placed Pope's image above his head as a model to which to aspire. In the second image, which shows Pope and Curll locked in battle, it is not clear who has the upper hand, and by the time the print was issued the direct reference to Pope had been removed completely. Ronald Paulson, the preeminent modern authority on Hogarth, suggests that Hogarth would have viewed Pope, through his Roman Catholicism, as having been implicitly tied to the continental influences that Hogarth despised, and would have seen Pope's refusal to accept the patronage of the great men of the time, while still cultivating them as friends and still reaping the rewards they had to offer, as hypocritical. Pope was part of the circle that included William Kent and Richard Boyle, 3rd Earl of Burlington who had displaced Hogarth's father-in-law James Thornhill from commissions, and Hogarth also had ties to Lewis Theobald, a possible target of the satire, through illustrations he had produced for Theobald's Perseus and Andromeda, and through his subscription to Theobald's edition of the works of Shakespeare. Paulson suggests that the real "villain" of The Distrest Poet may be Pope, unseen but representing the successful "Great Poet" whom the deluded aspiring artist hopes to emulate, rather than the distressed poet himself. Hogarth had featured Pope picking John Gay's pocket in the foreground of Emblematical Print on the South Sea Scheme, an early print he had produced on the theme of the South Sea Bubble (both Pope and Gay had invested money in the scheme). At the same time, within the satire of the painting, the poet who is distressed is going to be one of Pope's dunces.
The lines by Pope, though referring to Theobald, the hero of The Dunciad, are a characterisation of a Grub Street hack, a stereotype popular in the 1730s denoting a man of limited writing ability who lived in poverty but nevertheless determinedly pursued a career in literature; therefore, the particular scribbler depicted in the painting would be one of this fraternity of "witlings" who banded together to protest Pope's poem. In this context it would make sense, therefore, for the poet to have the scabrous anti-Pope print, or an emblem of Pope's fight with the hack writers' patron, above him. Just as Moll Hackabout has a picture of Macheath on her wall in A Harlot's Progress, this aspiring and witless poet would have a picture of his hero, Edmund Curll, and an anti-Pope print. The emblem, in other words, identifies the poet's "side" in the battle between dunces and men of wit.
Hogarth was well acquainted with the struggles of the Grub Street hack though, through the travails of his own father, Richard, who had been unable to make a living as writer and had eventually ended up at the Fleet Prison as a bankrupt. Hogarth may have been more than sympathetic to the dunce struggling with his rhymes. Jenny Uglow in her biography of Hogarth, posits that the gradual alteration of the prints above the poet's head could suggest a slow softening of attitudes towards Pope and his attack on the class of writer to which Hogarth's father had belonged, and perhaps evidence of Hogarth making his own compromises in his endeavours to become successful.
## See also
- List of works by William Hogarth | [
"## Background",
"## Picture",
"### Alexander Pope",
"## See also"
] | 1,983 | 26,680 |
49,371,117 | A Change of Heart (The 1975 song) | 1,170,607,783 | null | [
"2010s ballads",
"2016 singles",
"2016 songs",
"Black-and-white music videos",
"Dirty Hit singles",
"Electropop ballads",
"Polydor Records singles",
"Songs by Matty Healy",
"Synth-pop ballads",
"The 1975 songs"
] | "A Change of Heart" is a song by English band the 1975 from their second studio album, I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It (2016). The song was written by Matty Healy, George Daniel, Adam Hann and Ross MacDonald. Mike Crossey handled the production alongside Daniel and Healy. The song was released on 22 February 2016 by Dirty Hit and Polydor Records as the fifth single from the album. A synth-pop and electropop power ballad, the song features 808 beats, a portamento keyboard riff, pulsing synthesisers and elements of ambient pop, electro, new wave, yacht rock, chillwave and indie rock. The song's melancholic lyrics describe falling out of love and detail the end of a romance, focusing on the theme of technology.
Upon release, "A Change of Heart" received positive reviews from contemporary music critics, who praised the lyrics and production. The song later appeared on several year-end lists. Commercially, it reached number 127 on the UK Singles Chart, number 47 on the US Billboard Hot Rock & Alternative Songs and number 36 on the Billboard Alternative Airplay charts. The song was later certified silver in the United Kingdom by the British Phonographic Industry (BPI). An accompanying music video, written by Healy and directed by Tim Mattia, was released on 21 April 2016. The black and white tragicomic visual is based on Federico Fellini's film I clowns (1970), and follows Healy as a Pierrot-style clown engaging in a short-lived romance at an abandoned carnival.
## Background and release
During the song's premiere on Annie Mac's self-titled BBC Radio 1 show, Healy described it as a "simple song – three notes – and the truth" and a "very atypical '1975' song", saying the band wanted the track to convey serious conviction, self-awareness and beauty. On 22 February 2016, "A Change of Heart" was officially released as the album's fifth single.
## Music and lyrics
Musically, "A Change of Heart" is a low-tempo synth-pop and electropop power ballad. The song has a length of four minutes and 43 seconds (4:43). Containing a retro sound, the track's light and airy production consists of synthetically charged choirs, a percolating rhythm, simple three-note repetitions, a pop hook, 808 beats, a backing drum beat, jittering guitars, a portamento keyboard riff, quietly reverberating and meandering synthesiser pulses, a whirring synthesiser solo, lightly-tapped synth pads and a calming rock instrumentation. It also contains elements of ambient pop, electro, new wave, yacht rock, chillwave and indie rock. Ryan Reed of Rolling Stone described it as a "John Hughes-worthy synth-pop ballad", while James Grebey of Spin called it a "relaxing, floaty throwback to decades past" and Chris Ingalls of PopMatters said it "[sounds] like it was transported from 1987 and wouldn't sound at all out of place on some big-haired college radio DJ's late-night playlist".
Lyrically, "A Change of Heart" is a melancholic song that deals with falling out of love. Healy sings of a woman with whom he is romantically involved, before admitting that her appearance alone cannot sustain their relationship. The singer openly admits his superficial flaws, revealing his partner's appearance both initially attracted and later repulsed him. He points out her quirks while making derogatory remarks, singing: "And you were coming across as clever / Then you lit the wrong end of your cigarette". Healy also comments on his own behaviour in the couplet "I’ll quote On The Road like a twat". Conversely, the singer's partner says he looks terrible and is riddled with diseases. Returning to the theme of technology explored in "Love Me", the song analyses connection in the digital age, describing a partner more interested in being on their phone than with the relationship. As they become more connected on social media, they become disconnected from one another in reality, with Healy singing: "And then you took a picture of your salad/And put it on the internet". Ultimately, the singer breaks down into tears when the relationship has concluded.
## Reception
Upon release, "A Change of Heart" was met with positive reviews from contemporary music critics. Billboard deemed "A Change of Heart" the best rock and alternative song of 2016; describing it as an "incandescent synthpop tale of a relationship crumbling apart", editor Chris Payne praised the songwriting, narrative and alluring quality. Spin ranked the song at number 59 on their 2016 year-end list, with Anna Gaca commending the "exquisitely" gentle sound, haunting synth and "tragically" ironic depiction of modern love, calling it a "wooning, shimmering heartbreaker of a pop ballad". NPR included the track on their mid-year best of 2016 list; Daoud Tyler-Ameen declared it the most undeniable song from I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It. He praised the slight, sweet and underpunctuated lyrics—comparing them to 2016 Twitter poetry—and the singer's accent, saying its "lushness swallows you whole". Paste ranked "A Change of Heart" at number 16 on their list of the 1975's essential songs, calling it the "calm before the relapse in 'Somebody Else'".
Neil O'Sullivan of Financial Times called "A Change of Heart" excellent, while Maledine Roth of MTV News said the song is a "soul-wrenching (but admittedly beautiful) heap of sadness". Michael Hann of The Guardian called the track bleak and beautiful, deeming the line "You said I’m full of diseases, your eyes were full of regret / And then you took a picture of your salad and you put it on the internet" as 2016's best couplet. Celia Cummiskey of Euphoria Magazine highlighted Healy's delicate vocals and ability to mask a complicated emotional dilemma within the song's "deceptively upbeat" sound, while comparing "A Change of Heart" to Peter Gabriel's work in the 1980s. Annie Zaleski of The A.V. Club said Healy "upends the sensitive-poet stereotype with a knowing wink" and Rhian Daly of NME called the song the most self-referential track on the album. In the 1975's native United Kingdom, "A Change of Heart" peaked at number 127 on the UK Singles Chart and was later certified silver by the British Phonographic Industry (BPI), denoting sales of over 200,000 units in the UK. In the United States, the song peaked at number 47 on the US Billboard Hot Rock & Alternative Songs.
## Music video
An accompanying music video, directed by Tim Mattia, was released on 21 April 2016. The black and white visual is based on Federico Fellini's film I clowns (1970), while also taking inspiration from Michael Jackson's tribute to Charlie Chaplin, The Wiz (1978), Gene Kelly and Bob Fosse. The video features Healy—who wrote the visual—in the role of the protagonist; a Pierrot-style melancholy clown. Regarding the video's meaning, the singer said: "I want to convey the sense of resignation in being a clown. I am, have been and will always be a clown. I think it can tire people." The visual begins with Healy entering an abandoned, yet still operating carnival, and he begins to dance. The singer encounters a female clown and they dance together before running to the bumper cars. The pair adventure throughout the park, illustrating the strengthening of their relationship. Healy and the woman dance, play carnival games, do magic tricks and eat popcorn, while spirited dance sequences are interspersed. Once the weight of their romance becomes apparent, the female clown grows tired of the singer's silliness and leaves him in the video's denouement. The final shot shows Healy alone on a park bench underneath a raincloud, which leaves him soaking wet.
Grant Sharples of Alternative Press included "A Change of Heart" on his list of 10 music videos from the 1975 that should be made into feature-length films, saying: "The video is a clever reference to the 1975’s early black-and-white videos, but it adds an old-school cinema twist that’s unique to itself." Gaca commended the "bittersweet" video, calling it tragicomic. Reed also deemed the visual a tragicomedy, praising its vividness while noting it "[charts] the highs and lows of a tragicomic clown romance". Roth praised the "bittersweet" music video, while Tom Connick of DIY said it presents a darker side of clown life, writing: "It’s not all fun and games being a clown ... Sometimes, though, it’s actually a bloody nightmare." Payne praised Healy's acting and improvisation, noting the visual likely took a great deal of time to rehearse.
## Credits and personnel
Credits adapted from I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It album liner notes.
- Matthew Healy – composer, producer, electric guitar, vocals, background vocals
- George Daniel – composer, producer, programming, synthesizer programming, drums, keyboards, synthesizer, percussion
- Adam Hann – composer, electric guitar
- Ross MacDonald – composer
- Mike Crossey – producer, programming, mixer
- Jonathan Gilmore – recording engineer
- Chris Gehringer – mastering engineer
## Charts
## Certifications
## See also
- The 1975 discography
- List of songs by Matty Healy | [
"## Background and release",
"## Music and lyrics",
"## Reception",
"## Music video",
"## Credits and personnel",
"## Charts",
"## Certifications",
"## See also"
] | 2,061 | 8,038 |
62,152,607 | Jesus Is Lord | 1,157,034,543 | null | [
"2019 songs",
"Gospel songs",
"Kanye West songs",
"Song recordings produced by Kanye West",
"Song recordings produced by Timbaland",
"Songs about Jesus",
"Songs written by Federico Vindver",
"Songs written by Kanye West",
"Songs written by Timbaland"
] | "Jesus Is Lord" is a song by American vocalist and record producer Kanye West from his ninth studio album, Jesus Is King (2019). The song was produced by West, Angel Lopez, Brian "AllDay" Miller, Federico Vindver, and Timbaland. The producers wrote it alongside Claude Léveillée, who had a songwriting credit added due to the song sampling his work. A gospel track, it contains samples of "Un Homme Dans La Nuit", performed by Léveillée. Lyrically, the song features West performing a chorus that sees him echo the reaction of men and women to the Last Judgement.
The song received mixed reviews from music critics, who were generally divided in their assessments of West's performance. Critical commentary was positive towards the composition of "Jesus Is Lord" from some, though numerous reviewers were dissatisfied with the song's short length. On the US Billboard Hot 100, it charted at number 63. The song also reached numbers 10 and 11 on the US Christian Songs and Gospel Songs charts, respectively. West performed it repeatedly during a Sunday Service concert in October 2019. An extended version of the song entitled "Every Knee Shall Bow", which includes horns, was used for the album's accompanying film of the same name.
## Background
In December 2018, West collaborator Timbaland and Argentine record producer Federico Vindver took part in recording sessions with numerous rappers in Miami, including Saweetie and Lil Mosey. West had arrived at the sessions in under 24 hours, with Vindver recalling that he and Timbaland were "blown away" when West started "playing tracks for the Yandhi project." Vindver detailed the collaborative process between West and Timbaland, saying: "Timbaland would freestyle with him in the studio — Tim on the drum machine, Kanye singing in real time. He wanted to make more healing music at that time. But he was still finding what it was." West and Timbaland were reported to be recording together in Miami again durimg January 2019 for completion of the album, alongside rappers Lil Wayne, 2 Chainz, and YNW Melly, among others. In addition to "Jesus Is Lord", Timbaland contributed production to Jesus Is King tracks "Closed on Sunday", "Water", "Hands On", and "Use This Gospel". Timbaland produced the song with West, Angel Lopez, Brian "AllDay" Miller, and Vindver.
Since French-Canadian actor and musician Claude Léveillée had died eight years before 2019, West sampling "Un Homme Dans La Nuit" (1978) within "Jesus Is Lord" meant that he used a posthumous sample of Léveillée. Through an American law firm, the sample source's original publisher Peermusic were made aware of West's usage. On their Facebook page, the independent record label Audiogram questioned how West found "Un Homme Dans La Nuit" despite it not being available on streaming services. Éditorial Avenue creative director Guillaume Lafrance was surprised by West using the sample, with him confessing to not "know how Kanye came across this work" as well as questioning if someone suggested it to him or if West "stumbled upon it by chance in a store?" As a result of the sample, Léveillée received credit on the song as a writer. It was also written by West, Lopez, Miller, Vindver, and Timbaland. West shared the track list for the album on October 24, 2019, showing "Jesus Is Lord" to be set for release on it.
## Composition and lyrics
Musically, "Jesus Is Lord" is a gospel track. The horns and piano of the song are sampled from the recording "Un Homme Dans La Nuit", as performed by Léveillée. Five seconds are sampled of the recording, from 1:52 to 1:57 of it. The song features a trumpet, contributed by Jesse McGinty and Mike Cordone. McGinty also played the euphonium, French horn, saxophone, trombone, and tuba for the song.
The message of the song spreads the gospel. The lyrics also reference Philippians 2:10-11 of the Bible, looking towards the return of Jesus in the future. The song consists of West singing a chorus, in which he requests, "Every knee shall bow / Every tongue confess." After this, West proclaims "Jesus is Lord" twice in the chorus. West sings the chorus two times over in the song.
## Release and reception
"Jesus Is Lord" was released on October 25, 2019, as the eleventh and final track on West's ninth studio album Jesus Is King. The song was met with mixed reviews from music critics, who often had split feelings of West's vocals. Writing for The Herald-Standard, Clint Rhodes called the song "short and direct in reference to every believer's call to spread the gospel message" due to West's performance. The Daily Telegraph writer Neil McCormick viewed West "proclaiming 'Jesus Is Lord'" as surprising, since West "once rapped that he'd 'rather be a [dick] than a swallower.'" Luke Hinz from HotNewHipHop complimented the song's "beautifully layered horn arrangement," which he described as serving "to usher out West and his collaborators on bended knee." Despite pointing out its "much-too-short" length, Sam C. Mac of Slant Magazine labeled the song a "triumphant, brassy fanfare" and questioned it being the "most baroque production" from West since his fifth studio album My Beautiful Dark Twisted Fantasy (2010). God Is in the TV's Aidy James Steven felt the song is "gone as soon as it's arrived, disappearing suddenly into the ether." Steven continued, analyzing West as doing this because he would "rather leave you wanting more than with too much to digest," while admitting that the song "could have perhaps been elaborated upon or cut without consequence" and he concluded by dubbing it "a pleasant enough back cover to Kanye's Bible."
Carl Lamarre from Billboard gave "Jesus Is Lord" a mixed review, ranking the song as the sixth best track on Jesus Is King and citing it as "equally compelling" in comparison to the album's "triumphant" opener "Every Hour". He elaborated, highlighting the horns that "provide a glorious, champion-like feel," though slammed the song's short length as well as the lack of a verse from West. In Pitchfork, Sheldon Pearce complained that the song is too-short and admitted that its "message may be new" even though the delivery is "anything but," while he asserted the song "could flow seamlessly into the sampled horns" on West's single "Touch the Sky" (2006). For Consequence, Wren Graves stated the song "seems to stop, unresolved, in the middle of a thought." Will Rosebury from Clash dismissed the song's placement on Jesus Is King" as "a short outro." In a highly negative review, Ed Power from The Irish Times said that as the album closes at last with the song, "fans will indeed wonder if Kanye might not have done better overruling his pastor and hanging up his mic."
## Commercial performance
Following the album's release, the song debuted at number 63 on the US Billboard Hot 100. "Jesus Is Lord" entered the US Christian Songs chart at number 10, rounding out the top 10 of the chart that fully consisted of entries from Jesus Is King. Similarly, the song reached number 11 on the US Gospel Songs chart. On the US Billboard Hot R&B/Hip-Hop Songs chart, it debuted at number 31.
In Canada, the song charted at number 65 on the Canadian Hot 100. "Jesus Is Lord" performed best in Australia, peaking at number 55 on the ARIA Singles Chart. The song was less successful on the Lithuanian Top 100, reaching number 90 on the chart. It further charted at number 38 on the UK R&B Chart.
## Live performances and media usage
As part of a concert by his gospel group the Sunday Service Choir on October 27, 2019 at The Forum in Inglewood, California, West delivered repeated performances of "Jesus Is Lord". Kanye brought his daughter North West on stage while performing and she sang lyrics from the track after him. Kanye West stated during the performance, "LA put your hands up this is our final song!" At the same concert, the Sunday Service Choir's director Jason White led the crowd through a performance of the track. The crowd stretched out their arms, closed their eyes, and demonstrated worship. For West and the Sunday Service Choir's concert at Bethany Rose Church in Baton Rouge, Louisiana on November 1, 2019, they performed the track live.
An alternate version of the track, titled "Every Knee Shall Bow", is included in the concert film Jesus Is King, which was released simultaneously with the album of the same name. The version is featured in the closing credits of the film, though had not been included on the pre-release track listing. It is a horn-infused track, which is reminiscent of the original version and includes the lyrics, "Every knee shall bow/Jesus is Lord."
## Credits and personnel
Credits adapted from Tidal.
- Kanye West – producer, songwriter
- Angel Lopez – producer, songwriter
- Brian "AllDay" Miller – producer, songwriter
- Federico Vindver – producer, songwriter
- Timbaland – producer, songwriter
- Claude Léveillée – songwriter
- Mike Dean – mastering engineer, mixer
- Jess Jackson – mixer
- Manny Marroquin – mixer
- Chris Galland – mix engineer
- Jeremie Inhaber – assistant mixer
- Robin Florent – assistant mixer
- Scott Desmarais – assistant mixer
- Andrew Drucker – recording engineer
- Josh Bales – recording engineer
- Josh Berg – recording engineer
- Randy Urbanski – recording engineer
- Jesse McGinty – euphonium, French horn, saxophone, trombone, trumpet, tuba
- Mike Cordone – trumpet
## Charts
### Weekly charts
### Year-end charts | [
"## Background",
"## Composition and lyrics",
"## Release and reception",
"## Commercial performance",
"## Live performances and media usage",
"## Credits and personnel",
"## Charts",
"### Weekly charts",
"### Year-end charts"
] | 2,177 | 37,925 |
7,703,414 | Hurricane Michael (2000) | 1,171,666,541 | Category 2 Atlantic hurricane in 2000 | [
"2000 Atlantic hurricane season",
"2000 disasters in Canada",
"Category 2 Atlantic hurricanes",
"Hurricanes in Canada",
"Tropical cyclones in 2000"
] | Hurricane Michael of the 2000 Atlantic hurricane season caused widespread, but relatively minor damage in Atlantic Canada. The seventeenth tropical cyclone, thirteenth named storm, and eighth hurricane of the season, Michael developed from a non-tropical system to the southwest of Bermuda on October 15. The system was initially subtropical, but rapidly acquired tropical characteristics by October 17. Michael quickly strengthened into a hurricane later that day. By October 20, Michael peaked as a Category 2 hurricane on the Saffir-Simpson hurricane wind scale at a relatively high latitude of 44°N. The storm weakened slightly to a Category 1 hurricane and became extratropical shortly before making landfall in Newfoundland on October 20.
As the intensity of Michael was equivalent to a Category 1 hurricane during landfall, high winds were reported throughout Atlantic Canada, especially in Newfoundland. Winds from the storm peaked at 172 km/h (107 mph) in St. Lawrence, Newfoundland; other locations across the island reported winds of 128 to 150 km/h (80 to 93 mph). High winds caused minor structure damage across Newfoundland, confined to vinyl siding peeled off, shattered windows, and unroofed houses. In addition, sporadic power outages were also reported from Corner Brook to St. John's. Michael also dropped rainfall across Atlantic Canada and in Maine. The rainfall was generally light, with much of the region reporting between 25 and 51 mm (0.98 and 2.01 in) of precipitation. Michael also produced high tides, accompanied by waves reported as high as 16.9 m (55 ft) by a buoy well offshore of Newfoundland.
## Meteorological history
The system originated out of a non-tropical cold-core upper level low that drifted southward into the subtropics. The low interacted with a cold front, which resulted in the development of a stationary front over the Bahamas on October 10. As the cold low drifted southward, a surface low developed on October 12. The surface low remained mostly stationary until early on October 15 as it merged with the upper-level low and deepened while north of the Bahamas and east of the coast of Florida. Later that day, the system gained enough tropical characteristics and became organized enough to be classified as a subtropical depression. The storm remained stationary over warm water, with sea surface temperatures around 28 °C (82 °F), while it continued to gain additional tropical characteristics. Around 0000 UTC on October 16, it strengthened into a subtropical storm after satellite classifications showed a stronger storm. Later that day, the cyclone continued to develop as more thunderstorms formed and persisted near the low-level circulation.
By 0000 UTC on October 17, the transition was completed and Michael was reclassified as a tropical storm as supported by satellite classifications via the Dvorak technique. Shortly thereafter, the National Hurricane Center initiated advisories on Tropical Depression Seventeen; post-analysis later discovered it was actually a tropical storm. A well-defined eye quickly developed early on October 17 as Michael began to strengthen and continued to organize. That afternoon, Michael rapidly intensified further and was upgraded to a hurricane as Reconnaissance flights found winds of 120 km/h (75 mph). At that point, Michael began to move northward. While Michael was maintaining minimal hurricane status, the eye remained ragged, yet well-defined. Early on October 19, Michael briefly strengthened to 140 km/h (85 mph) before weakening slightly six hours later. Breaking into cooler water, Michael began its extratropical transition while accelerating to the northeast towards Newfoundland, which prevented significant weakening. The acceleration was caused by a shortwave trough embedded within strong southwesterly mid-level flow.
Unexpectedly, Michael began to rapidly intensify on October 19 while in extratropical transition. Later that day, a ship report in the eastern eyewall reported a minimum central pressure of 965 mbar (28.5 inHg) and maximum sustained winds of 155 km/h (100 mph), making Michael a Category 2 hurricane on the Saffir-Simpson hurricane scale. The sudden intensification was determined to have been as a result of baroclinic effects as it interacted with an incoming trough, which provided additional energy to counter the general weakening of hurricanes while in the high latitudes over sea-surface temperatures around 16 °C (61 °F). At 2300 UTC on October 19, shortly after completing its transition to an extratropical cyclone, Michael made landfall near Parsons Harbour, Newfoundland with winds of 155 km/h (100 mph). The extratropical system gradually weakened as it tracked across Newfoundland on October 20, and slowed down considerably with the presence of the trough. The storm was absorbed by another extratropical low just north of Newfoundland that afternoon.
## Impact
Because it was unknown that Michael became extratropical before landfall, it was initially considered the first tropical cyclone to strike Newfoundland since Hurricane Luis in 1995. Furthermore, Michael was also considered the first hurricane to make landfall in Canada since Hurricane Hortense in 1996. When the Meteorological Service of Canada and the National Research Council flew a Convair research flight into Michael on October 19, it was the first successful research flight made into a tropical cyclone by those agencies. Subsequent flights have been made into Tropical Storm Karen, Hurricane Isabel (while inland), Hurricane Juan, and Hurricane Ophelia.
### Newfoundland
In advance of the storm, the Newfoundland Weather Centre posted wind warnings, gale warnings, storm warnings, and hurricane warnings throughout Newfoundland. Rainfall advisories were also issued in portions of the East Coast, Central Newfoundland, the South Coast, and the West Coast. Offshore, storm force wind warnings were declared on October 19 for Newfoundland waters. Several Special Weather Statements were also posted.
Light to moderate damage was reported throughout Newfoundland, primarily as a result of the strong winds. The entire region was affected by Michael, though the majority of the damage was confined to small communities east of where the storm made landfall, including Gaultois, Harbour Breton, Hermitage and English Harbour West. These areas reported significant power outages and minor structural damage; vinyl siding was peeled off, windows were shattered, and roof shingles were torn off in some localized locations. The most severe damage was in Gaultois, where several roofs were torn off and trees were uprooted. Wind damage also occurred in the St. John's Metropolitan Area, where a Sobeys store in Conception Bay South had broken windows. Sporadic power outages were reported throughout the island, as far east as St. John's, and as far west as Corner Brook. As the storm struck at low tide, storm surge was insignificant. However, just prior to landfall, waves on the coast of Newfoundland reached heights of 7–8 m (23–26 ft). Rainfall near the storm's track was generally around 30 mm (1.2 in), though further inland, precipitation reached 75 mm (3.0 in). Rainfall from the hurricane amounted to 77 mm (3.0 in) at Englee, a small fishing community on the Great Northern Peninsula. Wind gusts peaked at 172 km/h (107 mph) at St. Lawrence, with other reports varying between 128 km/h (80 mph) and 150 km/h (93 mph). Despite severe winds, damage was relatively light due to high construction standards in Newfoundland, where winter storms routinely result in hurricane-force winds, as well as the sparse population of the area affected.
The tug Atlantic Elm lost its tow to the unmanned barge Portland Star on October 19. The barge was carrying over 18,000 tonnes of cement and diesel fuel and was later reported to have sunk in the Fortune Bay. Damage was reported to numerous pleasure craft around the bay due to the waves; two sailboats were toppled. Also, ferry service between Newfoundland and Nova Scotia was disrupted. Several offshore buoys and ships reported high winds and low barometric pressure, as well as waves of up to 16.9 m (55 ft).
### Elsewhere
On October 14 and October 15, the frontal boundary associated with the hurricane's precursor dropped heavy rainfall on Bermuda, amounting to 76 mm (3.0 in). However, as a tropical cyclone, Michael remained far from the island. Impact outside Newfoundland was generally light. However, rainfall was greater in some areas of Nova Scotia than in Newfoundland, where precipitation reached 95.7 mm (3.77 in) over North Mountain. Light rain was also reported in New Brunswick, Prince Edward Island, and Quebec. Effects from the storm in the United States were minimal, limited to light rainfall in the state of Maine which totaled less than 51 mm (2.0 in).
## See also
- List of Canada hurricanes
- Timeline of the 2000 Atlantic hurricane season | [
"## Meteorological history",
"## Impact",
"### Newfoundland",
"### Elsewhere",
"## See also"
] | 1,836 | 26,042 |
52,596,492 | Joachim Bernhard von Prittwitz | 1,144,470,192 | Prussian general | [
"1726 births",
"1793 deaths",
"German landowners",
"German military personnel of the War of the Austrian Succession",
"Lieutenant generals of Prussia",
"People from Prussian Silesia",
"Prussian military personnel of the Seven Years' War",
"Recipients of the Pour le Mérite (military class)",
"Silesian nobility"
] | Joachim Bernhardt von Prittwitz and Gaffron (1726–1793) was a Prussian officer credited with saving the life of Frederick the Great at the Battle of Kunersdorf. At the time, he was a cavalry captain in Hans Joachim von Zieten's Hussar regiment. He became the head of gendarmes regiment, and inspector general of the cavalry of Brandenburg March and Magdeburg in 1775. He was promoted to lieutenant general in 1785 and general of cavalry in 1788. Frederick awarded him the Order Pour le Mérite and the Order of the Black Eagle. In 1851, Prittwitz was included on the panels of the Equestrian statue of Frederick the Great as one of the key figures in the establishment of the Prussia state.
## Family
Prittwitz was born in Groß Läswitz. He came from the old and established Silesian nobility of Prittwitz, and was the son of the Prussian military captain and landowner Joachim Wilhelm von Prittwitz (13 March 1693–5 June 1758), master of Groß Läswitz, and Sophie Wilhelmine Gottesliebe von Domnig (9 February 1698–28 October 1752). He was born on 3 February 1726, on his father's estate.
As a 36-year-old on 16 December 1762 in Berlin, he married the widowed Eleanor of Paczensky and Tenczin, born Freiin von Seherr-Thoß (12 January 1739 on the estate at Schönfeld, Kr. Schweidnitz, Lower Silesia, died 23 February 1799 in Berlin), the daughter of the Junker Karl Heinrich von Seherr-Thoss, lord on the estates Schönfeld and Ludwigsdorf, and the Anna Elisabeth von Zedlitz and Leipe. Eleonore, a wealthy heiress, brought to the marriage fourteen properties in Lower Silesia near Breslau and Hirschberg.
## Military career
Prittwitz first attended a village school, later to the Oelser Gymnasium. In August 1741, he entered the Prussian cadet corps in Berlin, and in November of that same year was accepted as a Fahnenjunker (cadet) in Dragoon Regiment Nr. 1 (von Posadowski). From here, Prittwitz's military career modeled that of other Junker sons.
In the War of Austrian Succession, Prittwitz remained with Dragoon Regiment Nr. 4 and participated in all the major battles: in particular, he distinguished himself at the Battle of Hohenfriedberg on 7 June 1745. On 4 April 1746, he was promoted to the Fähnrich and was stationed in garrison in Schwedt. On 8 May 1751, he became a second lieutenant. During the Seven Years' War, he was at the Battle of Kolin on 18 June 1757 and the Battle of Zorndorf on 25 August 1758, after which he was honored with the Order Pour le Mérite. Short of cash, though, in 1758 he asked his king for money in a long poem, and he answered: "Wer dieses so artig in Verse gebracht, dem werden 500 Dukaten vermacht. – Ich bin Euer wohlaffectionirter König Friedrich." (He who has expressed himself so well in this verse will be left with 500 ducats. I am your well-disposed King Frederick."
At the end of 1758, the King instructed General Hans Joachim von Zieten to select the best officers for his Hussars from the whole army, and he selected Prittwitz as first lieutenant. On 12 August 1759, Prittwitz, then thirty-three years old, was promoted to the Rittmeister (cavalry captain). At a critical point in Battle of Kunersdorf, he saw Frederick standing on a small hill with the remnants of his body-guard—the Leib Cuirassier—determined to either hold the line or to die trying. With a 100-strong Hussar squadron, Rittmeister Prittwitz cut his way through the Cossacks and dragged the King to safety.
Prittwitz was promoted to major on 10 December 1760 and received the command of the 1st Battalion of his regiment. In 1761, Prittwitz was often working for the king personally. He was promoted to the lieutenant colonel in 1763, after the end of the Seven Years' War, which he had begun as a lieutenant, and soon became commander of the Hussars' regiment. Upon the death of Charles Frederick Albert, Margrave of Brandenburg-Schwedt without heirs in 1762, his estate reverted to the crown. After the Treaty of Hubertusburg, Frederick II granted these fortunes to the two officers toward whom he had particular gratitude: Lieutenant Colonel Hans Sigismund von Lestwitz, who had proven instrumental at the Battle of Torgau, received the estate of Friedland, and Prittwitz, who had led the King from the battlefield at Kunersdorf, received the estate at Quilitz (present-day Kwielice). Theodor Fontane gave this circumstance a special mention, by quoting a proverb: "Lestwitz a sauvé l'etat, Prittwitz a sauvé le roi." (Lestwitz saved the state, Prittwitz saved the king.")
In the years after 1763, Prittwitz carried out special assignments for the King: in 1765, he investigated the suitability of a proposed canal for shipping, and in 1767, he examined irregularities in the casting of Berlin coin. On 12 December 1768 he was appointed colonel. On 20 May 1775, he became major general and commander of the "Regiment Gendarmes" in Berlin and Inspector General of the Cavalry of Brandenburg and Magdeburg.
In 1778, during the War of Bavarian Succession, Prittwitz commanded a brigade on the Prussian right wing, consisting of 13 squadrons. In the years 1779–1783, Prittwitz founded the colony "Prittwitzdorf" at his Rudelstadt estate near Kupferberg, whose inhabitants were predominantly weavers and miners. He was promoted to lieutenant general on 20 May 1785, and on 26 May 1785, he received the Order of the Black Eagle in Magdeburg. Until the King's death, he was often a guest in Sanssouci. A lithograph by Georg Schöbel shows Prittwitz, together with other generals, at the deathbed of Frederick on 17 August 1786, at Sanssouci Palace in Potsdam.
On 20 May 1789, Prittwitz was appointed general of the cavalry by the new Prussian king Frederick William II. His penchant for gambling caused his dismissal as inspector in 1790. He died on 4 June 1793 in Berlin, and his body was removed to his estate in Quilitz for burial.
Prittwitz was also commemorated with Frederick the Great on the equestrian statue, and on a monument in Rheinsberg. | [
"## Family",
"## Military career"
] | 1,571 | 8,505 |
56,457,139 | Police Battalion 322 | 1,169,603,727 | null | [
"1941 establishments in Germany",
"SS and Police units",
"Security units of Nazi Germany established in 1941",
"The Holocaust in Belarus",
"The Holocaust in Russia"
] | The Police Battalion 322 (Polizeibattalion 322) was a formation of the German Order Police (uniformed police) during the Nazi era. During Operation Barbarossa, it was subordinated to the SS and deployed in German-occupied areas, specifically the Army Group Centre Rear Area, of the Soviet Union, as part of Police Regiment Centre.
Alongside detachments from the Einsatzgruppen and the SS Cavalry Brigade, it perpetrated mass murder during the Holocaust and was responsible for large-scale crimes against humanity targeting civilian populations. In mid-1942, the battalion was reassigned to the 5th Police Regiment and operated in German-occupied territories of Slovenia.
## Background and formation
The German Order Police (uniformed police) was a key instrument of the security apparatus of Nazi Germany. In the prewar period, Heinrich Himmler, the head of the SS, and Kurt Daluege, chief of the Order Police, cooperated in transforming the police force of the Weimar Republic into militarised formations ready to serve the regime's aims of conquest and racial annihilation. The police units participated in the annexation of Austria and the occupation of Czechoslovakia. Police troops were first formed into battalion-sized formations for the 1939 invasion of Poland, where they were deployed for security and policing purposes, also taking part in executions and mass deportations.
Twenty-three Order Police battalions were slated to take part in the 1941 invasion of the Soviet Union, Operation Barbarossa. Nine were attached to security divisions of the Wehrmacht. Two battalions were assigned to support the Einsatzgruppen, the mobile death squads of the SS, and the Organisation Todt, the military construction group. Twelve were formed into regiments, three battalions each, and designated as Police Regiments Centre, North, South, and Special Purpose. The goals of the police battalions were to secure the rear by eliminating the remnants of the enemy forces, guarding the prisoners of war, and protecting the lines of communications and captured industrial facilities. Their instructions also included, as Daluege stated, the "combat of criminal elements, above all political elements".
Along with Police Battalions 307 and 316, Police Battalion 322 was assigned to Police Regiment Centre. Comprising about 550 men, the battalion was raised from recruits mobilised from the 1905–1915 year groups. They were led by career police professionals, steeped in the ideology of Nazism, driven by anti-semitism and anti-Bolshevism. The regiment was placed under the command of , a career policeman. When it crossed the German-Soviet border, the regiment came under the control of Erich von dem Bach-Zelewski, the Higher SS and Police Leader (HSS-PF) for Army Group Centre.
## Operational history
Himmler made a personal visit to the headquarters of Police Regiment Centre in Belostok on 8 July where he spoke to Montua, Bach-Zalewski and the regiment's officers. The same evening, a company of Police Battalion 322 participated in the shooting of about 1,000 Jews under the direction of Einsatzgruppe B. On 10 July, Daluege visited the unit and addressed the members of the regiment arrayed in a parade formation, extolling them to "exterminate" Bolshevism as a "blessing for Germany". On 11 July, Montua passed a confidential order from Bach-Zalewski to the battalion commanders that Jews, who had been "convicted of looting", were to be shot; an execution took place the same day. Around this time, Police Battalions 316 and 322 rounded up approximately 3,000 Jewish men from Belostok and shot them in a nearby forest.
On 17 July, the regiment murdered over 1,100 Jews in Slonim, with Bach-Zalewski reporting to Himmler on 18 July: "Yesterday's cleansing action in Slonim by Police Regiment Centre. 1,153 Jewish plunderers were shot". By 20 July, the unit's reports referred to executions of Jewish women and children.
By late August, Police Battalion 322 moved to Minsk, where, on September 1, it conducted a killing operation together with the units of Einsatzgruppe B. The victims included 290 Jewish men and 40 Jewish women.
In September 1941, the regiment participated in the Mogilev conference, organised by General Max von Schenckendorff, commander of the Army Group Centre Rear Area, with assistance from Montua. The conference included three field exercises. On the second day, participants travelled to a nearby settlement where a company of Police Battalion 322, assisted by the troops of the SD, conducted a demonstration of how to surround and screen a village. According to the after-action report, "suspicious strangers" (Ortsfremde) or "partisans" could not be found. The screening of the population revealed fifty-one Jewish civilians, of whom thirty-two were shot.
On 2 October 1941, Police Battalion 322, along with Bach-Zalewski's staff company and Ukrainian auxiliaries, rounded up 2,200 Jews in the Mogilev ghetto. Sixty-five were killed during the roundups, and another 550 executed the next day. Throughout the rest of the month, the battalion continued to execute Jews, communists, and alleged partisans in the vicinity of Mogilev. The commander of the unit received the Iron Cross, 2nd class, following these operations.
In December, after the German defeat in the Battle of Moscow, the regiment was sent to the front lines to reinforce the German defenses, thus depriving Bach-Zalewski of manpower. The battalion was assigned to guard and security duties to the immediate rear of the front-line troops.
In May–June 1942, Police Battalions 307, 316, and 322 were reassigned to other regiments and continued to engage in security warfare and genocide. Battalion 322 was sent to the German-occupied territories of Slovenia, where it became part of the 5th SS Police Regiment.
## Aftermath
The Order Police as a whole had not been declared a criminal organisation by the Allies, unlike the SS, and its members were able to reintegrate into society largely unmolested, with many returning to police careers in Austria and West Germany. Personnel of Police Battalion 322 were investigated by the West German authorities in the 1960s. One of the battalion's members stated:
> "The expression 'combat of the partisans' is strictly speaking a complete misnomer. We did not have a single battle with partisans after we left Mogilev. ... The fact of the matter [was] that those found without identity cards sufficed for their arrest and executions".
## See also
- Bandenbekämpfung | [
"## Background and formation",
"## Operational history",
"## Aftermath",
"## See also"
] | 1,426 | 2,889 |
21,897,693 | Serious Sam: Next Encounter | 1,172,832,123 | 2004 video game | [
"2004 video games",
"Climax Group games",
"Colosseum",
"First-person shooters",
"GameCube games",
"Global Star Software games",
"Multiplayer and single-player video games",
"PlayStation 2 games",
"Serious Sam",
"Video games about time travel",
"Video games developed in the United Kingdom",
"Video games scored by Matthew Simmonds",
"Video games set in Atlantis",
"Video games set in ancient Rome",
"Video games set in historical China"
] | Serious Sam: Next Encounter is a 2004 first-person shooter game developed by Climax Solent and published by Global Star Software. As a spin-off in the Serious Sam series, it follows Sam "Serious" Stone, who tracks an unidentified enemy through ancient Rome, feudal China and Atlantis, and eliminates the forces the enemy controls to eventually uncover their identity. The player controls Sam through enclosed levels, fighting waves of enemies with an assortment of weapons and, occasionally, vehicles. Defeating enemies is a prerequisite to advance in a level and killing twenty in rapid succession temporarily grants a strength, speed and score boost in a "Super Combo". Two players can complete the campaign cooperatively and up to eight can engage in versus modes.
The game's development, originally under the name Serious Sam: Word to the Mothership, began at Climax Solent with a game engine created for the GameCube. The twenty-strong development team drew influence from previous Serious Sam games, GoldenEye 007, Perfect Dark, Smash TV, Ikari Warriors, and Contra. In later stages of development, the "Super Combo" system was introduced and emphasis was put on improving the frame rate. Global Star Software announced Next Encounter in January 2004 and released it for GameCube and PlayStation 2 in April. The game was met with a mixed reception. While the stable frame rate was praised, the graphics were heavily criticised. The controls and multiplayer modes were well received. Conflicting opinions were raised regarding the game's music and humour, and additional criticism was given to the game's repetitiveness and level design.
## Gameplay
Serious Sam: Next Encounter is a first-person shooter. The player, controlling Sam "Serious" Stone, traverses enclosed levels frequently composed of narrow corridors and open areas. There are forty-two levels, distributed among three thematic worlds. In each level, the player encounters various enemies, of which some use melee and others fire projectiles at Sam. Foes are teleported into a room and can approach from any side. The player often needs to clear a room of one or more waves of enemies before proceeding to the next room. In other instances, multiple objects need to be collected and inserted into pre-determined slots to unlock the way forward. The game also features some platforming elements and secrets hidden within levels.
Next Encounter contains various weapons, among them ten ranged weapons and a chainsaw for melee. By default, Sam brandishes two handguns that have unlimited ammunition. Some guns have several types of ammunition that can be switched between. Holding down the down the button to fire a weapon causes guns to discharge continuously. With an optional setting, enemies are automatically targeted. Every few levels, the player can use a vehicle—a jeep, submarine, or combine harvester—and kill enemies by running them over or using the vehicle's attached weaponry.
Killing enemies and collecting hidden treasures increases the score. Based on the final score in a level, the player is awarded a medal, where collecting certain amounts of gold medals unlocks additional "lost levels". Killing twenty enemies in quick succession activates a "Super Combo", which increases Sam's movement speed and his weapons' rate of fire and damage against villains, as well as doubles the score obtained for every further enemy. This state lasts approximately ten seconds. When Sam's health is depleted, gameplay pauses, the character is reset to most recently passed checkpoint, and the player receives a score penalty. A four-step difficulty setting adjusts how easily either Sam or the enemies are defeated.
Two players can complete the campaign cooperatively in a local split-screen mode. There are three versus modes: "Deathmatch", "Pass the Bomb", and "Hold the Flag". On the PlayStation 2, these can be played one-on-one in split-screen or with up to eight players online, while up to four local players can compete via split-screen on the GameCube.
## Plot
Serious Sam: Next Encounter is a "side chapter" in the Serious Sam series. It begins as Mental—the antagonist in the series—instructs an unidentified, childlike minion of his not to meddle with Mental's Time-Lock while he is absent. The minion insincerely agrees, eventually using the Time-Lock to travel to an unknown destination. Later, a scientist observed a space-time flux disturbance and called Sam "Serious" Stone (voiced by John Dick) to his laboratory. The scientist explains the situation and sends Sam to the Colosseum in ancient Rome, where Sam faces and defeats several waves of enemies from Mental's horde. Enraged, the minion orders Sam's execution, when the scientist announces an error with the teleporter and Sam is transported to the villa of Senator Cicero in Rome's outskirts. Sam is tasked with returning to the Colosseum on foot while preparing for future battles. Fighting his way through more of Mental's forces, he progresses into the city and re-enters the Colosseum. With multiple waves of enemies defeated, the minion summons a giant beast known as the Diablotaur. Sam triumphs over it and observes the minion fleeing through a nearby Time-Lock, with Sam following closely behind.
Sam lands near Xifengkou in feudal China. His Neurotronically Implanted Combat Situation Analyzer (NETRICSA) finds that another Time-Lock is present in the region, as well as further enemy forces, although less organised than before. Sam passes over the Great Wall to Juyongguan, then through the desert to Jiayuguan and through the city of Dunhuang to reach the Forbidden City, where NETRICSA finds that the Time-Lock is hidden in a temple in the city centre. Within that temple, Sam encounters and defeats the Subterranean Emperor Hydra and travels further through its Time-Lock, appearing on an isolated island on an ice floe above Atlantis. Sam enters an underground city complex through a steam vent, where NETRICSA records large energy spikes emerging from the Atlantean throne room. Sam is guided there and ascends the throne, when the ground beneath it opens up to his surprise, leading him to fall into a mothership of the Sirian alien race. NETRICSA detects that an unknown entity is trying to start the ship and requests Sam to stop it. In the ship's engine core, he is met with the ship's secret weapon: the Sirian Darklord, a combination of technology and a Sirian warrior. After Sam destroys it, he witnesses the minion exit the Sirian Darklord's head and gives him a spanking. The minion admits that he was responsible for Sam's previous troubles and states that he was an evil clone of Sam and the "ultimate warrior of evil", although he still had to grow up. Unimpressed, Sam takes the clone through a Time-Lock to the laboratory for examination. After they leave, a cloning device in the ship activates, spawning several more copies of the evil clone.
## Development and release
Serious Sam: Next Encounter was developed by Climax Group through its Climax Solent studio. According to lead designer Sam Barlow, the team of around twenty people worked in a positive atmosphere. The development began when Climax Solent received development units of the GameCube and created a game engine for the system. The game was the built from scratch for the GameCube and PlayStation 2, such that it did not need to be ported to another platform later on. The game, during the development called Serious Sam: Word to the Mothership, drew inspiration from several sources: Previous Serious Sam games were used as the base template, the controls were designed to be as responsive and intuitive as those in GoldenEye 007 and Perfect Dark, the enemy wave designs were influenced by Smash TV, and the vehicles were modelled after those in Ikari Warriors. Producer Matt Cooper also cited Contra as an influence. Original enemy designs were created alongside foes also featured in previous Serious Sam games. The original designs remained exclusive to this game.
Employees kept up morale through playtesting and frequently shared high scores on internal message boards. Additional testers were taken "off the street", of whom some showed significant interest in video games and were difficult to remove from the office after a testing session. The "Super Combo" system was introduced late into development, which Barlow said "completely changed the game" and how it was played by testers. Several elements—including jet packs, wasp enemies, multiplayer vehicle races, and a gun that adopts the powers of enemy projectiles it absorbs—were cut for reasons such as technical limitations and design decisions. Climax Solent occasionally shared its progress with Croteam, the creators of Serious Sam. Near the end of the production, artists and programmers were urged to improve the game's frame rate. Global Star Software, the budget-range publishing label of Take-Two Interactive, announced Next Encounter for the GameCube and PlayStation 2 in January 2004, alongside Serious Sam Advance for the Game Boy Advance. The company released both games in North America on 14 April 2004. PAL region versions followed on 30 April 2004.
## Reception
Serious Sam: Next Encounter received "mixed or average reviews", according to the review aggregator website Metacritic, which calculated weighted average ratings of 69/100 for the GameCube release and 65/100 for the PlayStation 2 version. Several critics commended the game's high and stable frame rate but found poor graphics as a trade-off: Ed Lewis of IGN faulted "simple" textures and low poly models of the enemies and environments, comparing the look to that of games for the original PlayStation, although he felt that the character design was the "best part" of the visuals. Editors of Edge said that the environments lacked intricacy and were "blocky" and "simplistic", Jes Bickham described them as "primitive" in NGC Magazine, and Ryan Davis of GameSpot called them "ugly". Mike David of GameZone found that enemies looked "sloppy" and appeared pixelated or "grainy" when in close-up. HomeLAN's John Callaham cited the graphics as the game's greatest shortcoming, as "the lighting of the game is so flat and the level and art textures so poorly detailed that at times we though we were playing a PS1 game instead of a PS2 title". In contrast, Jeff Shirley of Nintendo World Report appreciated the "nice" textures and use of bump mapping. Adam Biessener of Game Informer felt that the graphics were good enough for a budget-price game.
David and his colleague Scott Kuvin opined that the controls in Next Encounter were aptly designed for the GameCube and PlayStation 2. Bickham called them "robust" for the GameCube version. The Edge editors lauded the auto-aiming functionality for counteracting inaccuracies of the DualShock 2's analogue sticks. Kristan Reed of Eurogamer regarded the enemy wave designs as the "most amusingly deranged gaming spectacles of all time". Shirley stated that, although the size of some levels was impressive, it caused much unnecessary traversal over empty areas after a conflict with enemies. The Edge editors opined that the level design was "flat" and further said that the enemies were not as well-executed as in past Serious Sam games. Davis said that the game, overall, was not as good as previous entries in the series. Shirley, Lewis, and Reed criticised the game's repetitiveness, with Shirley saying that he felt as though he was repeatedly playing the first level in the game. Bickham labelled the gameplay as "one-dimensional". Joe Dodson of GameRevolution disliked the game's use of platforming elements, stating that they had no place in first-person shooters. Dodson and Lewis also said that the "Super Combo" system was poorly implemented and should have allowed the player to extend the phase with higher kill streaks.
Biessener thought that the multiplayer modes added some replay value to the game, even if they were not innovative. Bickham likened the design of cooperative mode in particular. Shirley and Doug Trueman of GMR criticised Next Encounter's plot as "just filler, and not very good filler" and a "total throwaway", respectively. Trueman also disliked the humour and found that the delivery of Sam's one-line jokes fell flat. Conversely, Biessener noted that the humour fit "perfectly" into the style of the series, while David considered it "sly". Bickham deemed the game's music "incessant speed-metal nonsense", although Davis regarded it as a good audio cue to indicate incoming enemies. | [
"## Gameplay",
"## Plot",
"## Development and release",
"## Reception"
] | 2,573 | 23,262 |
2,503,392 | You Make Me Wanna... | 1,173,189,763 | 1997 single by Usher | [
"1997 singles",
"1997 songs",
"LaFace Records singles",
"Music videos directed by Bille Woodruff",
"Song recordings produced by Jermaine Dupri",
"Songs written by Jermaine Dupri",
"Songs written by Manuel Seal",
"Songs written by Usher (musician)",
"UK Singles Chart number-one singles",
"Usher (musician) songs"
] | "You Make Me Wanna..." is a song by American recording artist Usher. It was released on August 5, 1997, by LaFace Records and Arista Records as the lead single from Usher's second studio album, My Way (1997). "You Make Me Wanna..." was written by Usher along with Jermaine Dupri and Manuel Seal, who both produced the tune. An R&B, soul and pop song in C minor, it makes use of acoustic guitar, hi-hat and bell instrumentation. The song focuses on a love triangle relationship, with the protagonist wishing to leave his girlfriend for his erstwhile best friend, with a hook in which Usher states, "You make me wanna leave the one I'm with and start a new relationship with you". The record won a Billboard Music Award, a Soul Train Music Award, and a WQHT Hip Hop Award, and was nominated for a Grammy Award.
"You Make Me Wanna..." appeared on several record charts, topping the UK Singles Chart and the US Hot R&B Singles, logging the second-longest run by a male artist on the latter. It also reached the top ten on the Billboard Hot 100, US Pop Songs, Canadian Singles Chart, Dutch Top 40 and ARIA Singles Chart. An accompanying music video, directed by Bille Woodruff, shows Usher dancing in various colored rooms and backgrounds, and uses an effect which creates several clones of Usher.
## Background and composition
Usher wrote "You Make Me Wanna..." with Jermaine Dupri and Manuel Seal, who also produced and played musical instruments on the tune. Phil Tan was in charge of recording the song at the Krosswire Studio, in Atlanta, Georgia in 1996. Tan and Dupri mixed the record with assistance from John and Brian Frye at Studio LaCoCo, in Atlanta, Georgia. "You Make Me Wanna..." draws from the genres of R&B, soul and pop, and heavily utilizes the acoustic guitar, while also incorporating hi-hat and bell instrumentation. According to Universal Music Publishing Group's sheet music published at Musicnotes.com, "You Make Me Wanna..." is written in the key of C Minor with a moderate tempo of 88 beats per minute. Usher's voice extends from the low note of B<sub>3</sub> to the high note of C<sub>6</sub>. The song has a basic sequence of Cm–Fm<sub>7</sub>–A–G–G/B as its chord progression. In the song, Usher attempts to seduce his partner's best friend, whom he finds irresistible, creating a love triangle. The song's lyrics are written in second-person narrative, and its hook is the pick-up line, "You make me wanna leave the one I'm with and start a new relationship with you". Usher told Rolling Stone that the song was inspired by one of his own memories of "juggling three women".
## Release
"You Make Me Wanna..." was distributed by LaFace Records and Arista Records. In the United States, it was serviced to rhythmic contemporary radio on July 15, 1997. The song was then released via maxi single on August 5, 1997. On September 9, 1997, the track was added to US contemporary hit radio. "You Make Me Wanna..." was released via cassette single, CD single, and 12-inch vinyl in the UK on January 19, 1998. The vinyl was made available in the US on April 24, 2001. Unauthorized copies of the song were distributed in Europe before its release, due to its popularity. "You Make Me Wanna..." serves as the opening track to Usher's second studio album, My Way, while an extended version concludes the album.
## Critical reception
BBC Music's Christian Hopwood stated that "You Make Me Wanna..." had "universal appeal". Larry Flick from Billboard wrote, "Vocally strumming his notes as gently and powerfully as the guitar player who accompanies him, Usher makes no enemies by professing an attraction to a friend while being involved with another. The track promises to be a hit among all generations and genders as his loyal young female fan base will eagerly jump aboard. Older women will easily fall prey to the very thought of his musings, while men now have an interesting avenue to express similar feelings." Robert Christgau noted "You Make Me Wanna..." as one of the best tracks from My Way. Entertainment Weekly's Whitney Pastorek gave it an A− rating, and complimented its minimal production. The Daily News reviewer called the single "very wonderful". British Music Week gave the single five out of five, remarking that it "looks set to crash into the mainstream". The magazine's Alan Jones praised it as "a superbly sublime and soulful semi-acoustic debut which recalls similarly styled singles from Tony Rich and Babyface. It actually has a very complex vocal, with Usher singing in and around the gaps on his own chorus. A very promising cuitain-raiser." According to Ann Powers of The New York Times, the song "put the spice back in the word 'relationship'." David Fricke from Rolling Stone said it is one thing: "tiptoe love funk with a spare, gangsta air and Usher doing overdubbed ensemble singing like a one-man Blackstreet." When reviewing My Way, Ian Hyland from Sunday Mirror stated that, "Tracks like 'You Make Me Wanna...', 'Nice And Slow' and 'Slow Jam' should put you in the mood". A writer for The Vindicator wrote, "The song is a melodic blend of Usher's smooth, youthful voice and a strong, upbeat rhythm track. Billy Johnson Jr. of Yahoo! Music commended the production on "You Make Me Wanna...", along with that of "Nice and Slow" and "My Way", the second and third singles from My Way, respectively. On Valentine's Day 2004, VH1 listed the song at number six on its "Top 10 Sexy Tunes" for the holiday.
"You Make Me Wanna..." won Usher the Billboard award for Pop Singer of the Year, and the Best R&B/Soul Single, Male category at the 1998 Soul Train Music Awards. Radio station WQHT awarded it the title of Best R&B Song at its inaugural Hip Hop Awards. The singer also received a Grammy Award nomination for Best Male R&B Vocal Performance for the song at the 40th Grammy Awards, but lost to R. Kelly's "I Believe I Can Fly". In the 1997 Pazz & Jop critics' poll administered by The Village Voice, "You Make Me Wanna..." tied for thirtieth place in the singles category with Radiohead's "Paranoid Android".
## Commercial performance
"You Make Me Wanna..." debuted at number twenty-five on the Billboard Hot 100 on the chart dated August 23, 1997. The track peaked at number two for seven consecutive weeks, from October 25 to December 6, 1997. After seven weeks at number two, the song fell into number three, replaced at the runner-up spot by LeAnn Rimes' "How Do I Live", which had also spent seven weeks at number three. In November 1998, the song fell off the chart after forty-six charting weeks. On the Hot R&B Singles component chart, "You Make Me Wanna..." debuted at number four on August 23, 1997, before topping the chart two weeks later. In its first week of release, "You Make Me Wanna..." received 1,329 spins, and by early October 1997, the song had made fifty million listener impressions on US R&B radio. The record spent a total of eleven weeks atop the R&B/Hip Hop Songs, and seventy-one weeks within the chart's 100 positions. "You Make Me Wanna..." stood as the song with the longest run on the genre chart by a male artist until K'Jon's "On the Ocean" lasted longer in 2010. It also spent twenty-nine weeks on the Pop Songs chart, peaking at number seven. On September 3, 1997, "You Make Me Wanna..." received a gold certification from the Recording Industry Association of America (RIAA), denoting 500,000 shipments, and later that month it was upgraded to platinum status for shipments exceeding one million copies. Though its certification status was not further renewed, it ultimately went on to sell over two million copies domestically. The song ranked at number eighty-eight on the Billboard Hot 100 "All-Time Top Songs", published in July 2008.
"You Make Me Wanna..." entered the UK Singles Chart at number one, on the chart dated January 31, 1998. That same week the British Phonographic Industry (BPI) awarded the song a silver certification for shipping 200,000 units. It only spent one week on top of the chart, being replaced by Aqua's "Doctor Jones". "You Make Me Wanna..." slipped off the chart in May 1998, having had thirteen charting weeks. The BPI has since re-certified the single gold for shipping over 400,000 copies. The song entered the Canadian Singles Chart at number eighty-six on November 10, 1997. It peaked at number six, lasting twenty-two weeks in the chart. In Europe, the song reached the top twenty in France, Germany, Norway and Switzerland, and peaked at number seven in the Netherlands. It spent sixteen weeks in the Australian Singles Chart, climaxing at number six, and was certified Platinum by the Australian Recording Industry Association (ARIA), having sold 70,000 copies. "You Make Me Wanna..." reached number fifteen on the New Zealand Singles Chart, occupying twenty-six weeks in the chart. The Recording Industry Association of New Zealand certified the song gold.
## Music video
The accompanying music video for "You Make Me Wanna..." was directed by Bille Woodruff. It starts with Usher sitting in an orange wall recess, reaching for a guitar, before cutting to a scene of him standing in a white-and-purple circular room, wearing an open shirt. It moves to a blue backdrop where Usher advances, flanked by four dancers. The scene is replaced by five clones of Usher dancing and sitting on chairs. The video continues with the singer performing dance routines throughout; interspersed are scenes of Usher singing the song on a background of blue pipes. Toward the end of the video, he takes off his shirt in the circular room, and finally Usher and his backup dancers step out of their shoes and walk away.
## Track listings
- Maxi-single
1. "You Make Me Wanna..." – 3:39
2. "You Make Me Wanna..." (JD remix) – 3:39
3. "You Make Me Wanna..." (Lil' Jon's Eastside Remix) – 4:26
4. "You Make Me Wanna..." (Timbaland Remix) – 3:58
5. "You Make Me Wanna..." (instrumental) – 3:17
6. "You Make Me Wanna..." (Lil Jon's Eastside remix instrumental) – 3:57
- CD single
1. "You Make Me Wanna..."
2. "You Make Me Wanna..." (Tuff Jam Classic Garage Mix)
3. "You Make Me Wanna..." (Tuff Jam Classic Garage instrumental)
4. "You Make Me Wanna..." (Tuff Jam UVM Dub Mix)
5. "You Make Me Wanna..." (instrumental Dub Mix)
- 12-inch vinyl
1. "You Make Me Wanna..." – 3:39
2. "You Make Me Wanna..." (JD's Remix) – 3:39
3. "You Make Me Wanna..." (Lil' Jon's Eastside Remix) – 3:58
4. "You Make Me Wanna..." (Timbaland's Remix) – 4:26
5. "You Make Me Wanna..." (a cappella) – 3:39
6. "You Make Me Wanna..." (instrumental) – 3:17
## Charts
### Weekly charts
### Year-end charts
### Decade-end charts
### All-time charts
## Certifications
## See also
- List of number-one singles from the 1990s (UK)
- List of number-one R&B singles of 1997 (U.S.)
- List of Billboard Rhythmic number-one songs of the 1990s
- List of RPM number-one dance singles of 1997 | [
"## Background and composition",
"## Release",
"## Critical reception",
"## Commercial performance",
"## Music video",
"## Track listings",
"## Charts",
"### Weekly charts",
"### Year-end charts",
"### Decade-end charts",
"### All-time charts",
"## Certifications",
"## See also"
] | 2,607 | 1,903 |
18,862,817 | The Cry of Love Tour | 1,162,968,684 | 1970 concert tour by Jimi Hendrix | [
"1970 concert tours",
"1970 in music",
"Concert tours of Europe",
"Concert tours of the United States",
"Jimi Hendrix"
] | The Cry of Love Tour was a 1970 concert tour by American rock guitarist and singer Jimi Hendrix. It began on April 25, 1970, at the Forum in Inglewood, California, and ended on September 6, 1970, at the Love & Peace Festival in Fehmarn, West Germany. The majority of the 37 shows were in the United States, with two each in Sweden, Denmark, and West Germany, and one in England, where Hendrix was the final act at the Isle of Wight Festival 1970.
After experimenting with different lineups following the breakup of the original lineup of the Jimi Hendrix Experience, Hendrix brought back drummer Mitch Mitchell with bassist Billy Cox replacing Noel Redding to record and tour. The trio would perform older tunes along with newer material from the live Band of Gypsys album and songs that Jimi was developing for a fourth album. Soon after their performance at the Isle of Wight, the tour was cut short due to Cox's illness and Hendrix was left considering his options. However, he died twelve days after the Fehmarn concert.
Several concerts were recorded and filmed that were later released on albums and film. Since their debut in 1971, the Berkeley, Atlanta, and Isle of Wight performances have been reissued several times, most recently as Blue Wild Angel: Live at the Isle of Wight (2002), Live at Berkeley (2003), and Freedom: Atlanta Pop Festival/Jimi Hendrix: Electric Church (2015). Concert selections continue to be included on Hendrix retrospectives and documentaries, such as Voodoo Child: The Jimi Hendrix Collection (2001), which contains five songs recorded during the tour.
## Background
Following Noel Redding's departure from the Experience on June 29, 1969, Hendrix called on Billy Cox, an Army buddy and early bandmate, to play bass. In July, Hendrix, Cox, and Experience drummer Mitch Mitchell moved to a rural retreat in upstate New York and began rehearsing with an expanded lineup, which included rhythm guitarist Larry Lee and percussionists Juma Sultan and Jerry Velez. One month later, the group debuted at the Woodstock festival. After a couple of gigs and recording sessions, it became apparent that the group, sometimes referred to as "Gypsy Sun and Rainbows" after a comment Hendrix made at Woodstock, was not making sufficient progress. Hendrix still wanted to experiment with a different backup but return to the trio configuration, so drummer Buddy Miles replaced Mitchell with Cox remaining on bass. However, the new trio, often called the Band of Gypsys, was similarly short-lived. Hendrix's tour manager, Gerry Stickells, believed "Jimi's own lack of commitment to the Band of Gypsys concept [was] its fatal flaw". Hendrix expressed his dissatisfaction with the subsequent Band of Gypsys live album and Cox saw it as a stopgap measure to meet a contractual obligation. With the return of Mitchell alongside Cox, Hendrix's latest group had only one member change from either the Experience or the Band of Gypsys.
Shortly before the tour began, Hendrix was interviewed for Melody Maker, the British music magazine: "I called the tour the 'Cry of Love' because that is what it's all about", which the writer also thought was the name of the new group. However, a new name was never officially adopted, but concert promoters often billed them as the "Jimi Hendrix Experience". Hendrix explained:
> I'm not sure how I feel about the Experience now. Maybe we could have gone on but what would have been the point of that—what would it have good for? It's a ghost now—it's dead—like back pages in a diary. I'm into new things and I want to think about tomorrow, not yesterday.
With the March–June 1970 releases in the US and UK of the Woodstock film and soundtrack and Band of Gypsys, Hendrix remained one of the biggest rock concert attractions: "I'd like to play some festivals but I wish they would break up the events a bit for the audiences. There's no reason why these huge crowds should not be entertained by side attractions as well." During this period, demonstrations, riots, and clashes with the police occurred at several concerts. Some of Hendrix's performances were met with demands that they be free events, such at the Berkeley Community Theatre (May 30), Swing Auditorium (June 20), Ventura County Fairgrounds (June 21), and the New York Pop Festival (July 17), where they led to violent confrontations.
At this time, Hendrix was also writing and recording songs for a planned fourth studio album. In early June after many delays, his new recording facility, Electric Lady Studios, was operational. Hendrix was able to get his manager, Michael Jeffery, to agree to limit his concert appearances to three-day weekends, so the group could return to New York City to record during the rest of the week. There were some stretches when the group took time off: they only performed twice between May 10 and June 5 (three gigs were cancelled due to illness); and twice between June 27 and July 17. The group spent most of August recording at Electric Lady, before the official opening party on August 26.
Afterwards, Hendrix departed for England and the European segment of the tour. For his first appearance in England in eighteen months, Hendrix was one of the top-billed events at Isle of Wight Festival 1970. A few dates later, Cox became ill and had to return to the US to recover. So, after performing at only seven European concerts, the tour was cancelled. Hendrix stayed in London, where he attended parties and jammed with other musicians. He was considering whether to find a new bass player and met with Chas Chandler, the producer of Are You Experienced and Axis: Bold as Love. However, Hendrix died on September 18, 1970.
## Repertoire
Throughout the tour, Hendrix continued to perform Experience material and introduced several newer songs. "Purple Haze" and "Voodoo Child (Slight Return)" were frequent concert closers; "Foxey Lady", "Red House", "Fire", and "Hey Joe" were concert staples as they had been in Experience performances. Hendrix also continued to perform popular songs that dated back to the Experience, but not yet recorded to his satisfaction, such as "Lover Man", "Hear My Train A Comin'", and "Roomful of Mirrors". From his time with Cox and Miles, he added "Machine Gun", "Message to Love", and "Ezy Ryder".
Hendrix also had a number of new songs that were still in development that he chose to include in his concerts: "Freedom" and "Hey Baby (New Rising Sun)" were among the most played new numbers; others, such as "Straight Ahead", "In from the Storm", "Dolly Dagger", and "Midnight Lightning" were performed occasionally. The songs signaled a new direction in Hendrix's music, which biographer John McDermott describes as "music of a more mature and refined Experience ... reflecting a more subtle and intricate approach". At Atlanta Pop, where they played several new songs, Hendrix was encouraged by the audience reaction. As they left the stage, he remarked to Cox, "we must be riding in the right direction".
Set lists, which identify the songs to be performed and their order, were not used by the group. According to Cox, "We never had a set list. Jimi always starts the song off. So wherever he wanted to go, that's where we went." When he wanted to extend a song, Hendrix provided a cue, such as a head or hand gesture known to Mitchell and Cox. Biographer David Moskowitz identifies the songs performed on July 26 at the Sick's Stadium in Seattle, Washington, as representative of the Cry of Love repertoire:
- "Fire"
- "Message to Love"
- "Lover Man"
- "Machine Gun"
- "The Star-Spangled Banner"
- "Purple Haze"
- "Hear My Train A Comin'"
- "Voodoo Child (Slight Return)"
- "Hey Baby (New Rising Sun)"
- "Freedom"
- "Red House"
- "Foxey Lady"
Despite being one of his best-selling singles, Hendrix usually ignored requests for "All Along the Watchtower" during his tours with the Experience. However, after the song's debut about midway through the tour on June 20, he performed it more often. Cox wished to delve deeper into Hendrix's catalogue: "I wanted to play those songs ... I wanted him to play 'Crosstown Traffic,' but we never got around to rehearsing it." However, Hendrix occasionally surprised him – at a May 16 gig at Temple University in Philadelphia, Pennsylvania, Cox recalled:
> Just before we went onstage, Jimi said we were going to start the show with "Sgt. Pepper's Lonely Hearts Club Band" and "Johnny B. Goode." I just looked at him. "Sgt. Pepper" and "Johnny B. Goode"? He laughed and said "C'mon man, you know all that old shit!"
Hendrix also performed "Johnny B. Goode" at the first show on May 30 at the Berkeley Community Theatre. During the afternoon rehearsals, the group tried out another rock and roll classic, Carl Perkins' "Blue Suede Shoes". In Europe, Hendrix reached back to his early career for a couple of performances of Howlin' Wolf's "Killing Floor" and the Muddy Waters tribute "Catfish Blues".
## Films and albums
Over the years, several films and albums have been released of Hendrix's concert performances during the Cry of Love tour (all are albums, except where noted):
- Jimi Plays Berkeley (film with songs from both shows on May 30, released 1971)
- Live at Berkeley (2nd show, May 30, released 2003)
- Johnny B. Goode (video & LP with songs from Berkeley on May 30 & Atlanta Pop on July 4, released 1986)
- Stages (Box set disc 4: Atlanta Pop, July 4, released 1991)
- Jimi Hendrix: At the Atlanta Pop Festival (film of Atlanta Pop, July 4, released 1992)
- Freedom: Atlanta Pop Festival (July 4, released 2015)
- Jimi Hendrix: Electric Church (film July 4, released 2015 in conjunction with Freedom)
- Rainbow Bridge (film July 30, released 1971)
- Live in Maui (July 30 both sets, released 2020)
- Isle of Wight (August 31, released 1971)
- Jimi Hendrix: At the Isle of Wight (film August 31, released 1990)
- Live Isle of Wight '70 (August 31, released 1991)
- Blue Wild Angel: Live at the Isle of Wight (film & CD August 31, released 2002)
- Live at the Isle of Fehmarn (September 6, released 2005)
Additionally, songs recorded during the tour have been released along with other live and/or studio material:
- Rainbow Bridge (1971): "Hear My Train A Comin'" (Berkeley, May 30)
- Hendrix in the West (1972): "Johnny B. Goode", "Lover Man", "Blue Suede Shoes" (Berkeley, May 30); "God Save the Queen", "Sgt. Pepper's Lonely Hearts Club Band" (Isle of Wight, August 30)
- Soundtrack Recordings from the Film Jimi Hendrix (film & LP 1973): "Johnny B. Goode", "Purple Haze" (Berkeley, May 30); "Machine Gun", "Red House", "In from the Storm" (Isle of Wight, August 30)
- The Jimi Hendrix Concerts (1982): "Red House" (New York Pop, July 17)
- Band of Gypsys 2 (1986): "Voodoo Child" (Atlanta Pop, July 4); "Stone Free", "Ezy Ryder" (Berkeley, May 30)
- Cornerstones: 1967–1970 (1990): "Fire", "Stone Free" (Atlanta Pop, July 4)
- Blues (1994): "Hear My Train A Comin'" (Berkeley, May 30)
- The Jimi Hendrix Experience (2000): "Johnny B. Goode", "Blue Suede Shoes" (Berkeley, May 30); "Hey Baby" / "In from the Storm" (Maui, July 30); "All Along the Watchtower", "In from the Storm" (Isle of Wight, August 30)
- Voodoo Child: The Jimi Hendrix Collection (2001): "Hear My Train A Comin'", "Johnny B. Goode" (Berkeley, May 30); "Red House" (New York Pop, July 17); "Foxey Lady" (Maui, July 30); "Freedom" (Isle of Wight, August 30)
- West Coast Seattle Boy: The Jimi Hendrix Anthology (2010): "Red House" (Berkeley, May 30)
- Voodoo Child (film 2010, released with West Coast Seattle Boy): portions of "Machine Gun", "Hey Baby", "Purple Haze" (Berkeley, May 30); "Foxey Lady", "In from the Storm" (Maui, July 30); "Freedom", "Voodoo Child" (Isle of Wight, August 30)
- "Hear My Train A Comin'" (film 2012): "Message to Love", "Lover Man", "Purple Haze", "Voodoo Child" (New York Pop, July 17); "Killing Floor", "Spanish Castle Magic", "All Along the Watchtower", "Foxey Lady" (Love & Peace Festival, September 6)
## Concerts | [
"## Background",
"## Repertoire",
"## Films and albums",
"## Concerts"
] | 2,971 | 9,881 |
1,436,544 | Crary Mountains | 1,153,398,401 | Volcanoes in Antarctica | [
"Crary Mountains",
"Miocene shield volcanoes",
"Pleistocene shield volcanoes",
"Pliocene shield volcanoes",
"Shield volcanoes of Antarctica",
"Volcanoes of Marie Byrd Land"
] | Crary Mountains () are a group of ice-covered volcanoes in Marie Byrd Land, Antarctica. They consist of two or three shield volcanoes, named Mount Rees, Mount Steere and Mount Frakes, which developed during the course of the Miocene and Pliocene and last erupted about 30,000-40,000 years ago. The first two volcanoes are both heavily incised by cirques, while Mount Frakes is better preserved and has a 4 kilometres (2.5 mi) wide caldera at its summit. Boyd Ridge is another part of the mountain range and lies southeast of Mount Frakes; it might be the emergent part of a platform that underlies the mountain range.
The volcanoes consist mainly of basalt, trachyte and phonolite in the form of lava flows, scoria and hydrovolcanic formations. Volcanic activity here is linked to the West Antarctic Rift system, which is responsible for the formation of a number of volcanoes in the region. During their existence, the range was affected by glaciation and glacial-volcanic interactions.
## Geography and geomorphology
The mountain range lies in eastern Marie Byrd Land, Antarctica, about 250 kilometres (160 mi) from the Bakutis Coast. It was first visited in 1959–1960, and several accessible outcrops were sampled. The name refers to Albert P. Crary, who was then Deputy Chief Scientist for the US-IGY Antarctic Program.
The Crary Mountains are a chain of three shield volcanoes 50 kilometres (31 mi) long which extends in northwest-southeast direction. The volume of the volcanoes exceeds 400 cubic kilometres (96 cu mi) and the edifices consist of lavas, hydrovolcanic deposits such as hyaloclastite, fragments of pillow lavas and tuffs, and scoria. Unlike many other mountains in Marie Byrd Land, which owing to a lack of erosion display only their highest and youngest parts, in the Crary Mountains the internal structure of the volcanoes are well exposed due to glacial erosion. The Crary Mountains form a drainage divide for the West Antarctic Ice Sheet; they dam it, which is thus higher on the southwestern side of the range. Debris stripes have been observed on the ice near the foot of the mountains.
The northeasternmost volcano is Mount Rees, which reaches a summit height of 2,709 metres (8,888 ft) at Tasch Peak. Volcanic rocks crop out at Trabucco Cliff on its northeastern flank. There is no caldera. Glacial erosion has cut deep cirques into the eastern flank of Mount Rees, and volcanic outcrops indicate that volcanic rocks alternate between subglacial formations and subaerial formations. Outcrops consist of breccia and lavas, which in one case are intruded by a dike.
In the middle of the chain lies Mount Steere with a summit elevation of 3,558 metres (11,673 ft) and a rectangular summit caldera. Lie Cliff is a volcanic outcrop on the northeastern flank. Mount Steere is heavily dissected, bears evidence of former glaciation in the form of moraines and cirques have been eroded into its northern and northeastern flanks. As with Mount Rees, volcanic rocks alternate between these that formed subglacially and these formed subaerially. Outcrops feature breccias and lava with numerous intruded dikes.
South of Mount Steere is Mount Frakes, with 3,654 metres (11,988 ft) it is the highest peak in the range and the least eroded of the Crary Mountains. It has a 4 kilometres (2.5 mi) wide circular summit caldera and unlike Mount Rees and Mount Steere it bears no evidence of subglacial eruptions, probably due to lack of erosion that could have exposed them. Volcanic rocks crop out both on the southern and western flank, at Morrison Rocks and English Rock respectively. These outcrops are cinder cones that formed on the slopes of Mount Frakes. Volcanic and nonvolcanic boulders on the slopes of Mount Frakes may either be xenoliths or glacial erratics.
Boyd Ridge is smaller than the other three volcanoes and located southeast of Mount Frakes and reaches an elevation of 2,375 metres (7,792 ft). Runyon Rock crops out to its east and is the only area of Boyd Ridge not covered by ice. Cinders and a cliff of hyaloclastite are found there.
The volcanoes rise from a platform formed by lava flows and pyroclastic rocks. This platform lies at about 2,700–2,800 metres (8,900–9,200 ft) elevation and the Boyd Ridge may be a southeastward extension thereof. It appears that the platform — which crops out only on the eastern side of the Crary Mountains — was tilted westward by faulting. Echo and magnetic sounding have imaged the root of the Crary Mountains in the West Antarctic Ice Sheet, finding that the underlying terrain is steep and flanked by narrow troughs. The mountains are associated with a strong magnetic anomaly that may reflect subglacial rocks containing magnetite.
## Geology
Cenozoic volcanism in Marie Byrd Land is related to the West Antarctic Rift and has been explained by the activity of a mantle plume. This plume either underlies Marie Byrd Land and its volcanoes, or it rose to the surface before Antarctica separated from New Zealand during the middle Cretaceous and induced volcanism across the continental borderlands of the Southwest Pacific. In the latter theory, the Marie Byrd Land volcanism is caused by a remnant plume head underneath the continent. The basement crops out along the coast and consists of granitoids and metamorphic sediments left by a Devonian-Cretaceous volcanic arc.
This volcanism manifests itself with 18 large and numerous smaller volcanoes, which occur in groups, rows or as solitary systems in Marie Byrd Land. The larger centres have produced phonolite, rhyolite, trachyte and rocks with intermediate compositions, and reach heights of over 3,000 metres (9,800 ft) above sea level. The smaller centres are found at the foot of the larger centres, as parasitic vents on their slopes or along the coast. These vents have produced alkali basalt, basanite and hawaiite.
### Composition
Basalt occurs at all four volcanoes. Phonolite and trachyte are found at Mount Rees and Mount Steere, the former also at Mount Frakes; Mount Rees also features rhyolite. Phenocrysts include clinopyroxene, magnetite, olivine and plagioclase. The magma erupted in the Crary Mountains originated in the mantle and underwent fractional crystallization after formation.
### Geologic history
The Crary Mountains were active between 9.3 and 0.04 million years ago during the Miocene and Pliocene. The youngest dates have been obtained by argon-argon dating on Mount Frakes, and imply an eruption 35,000±10,000–32,000±10,000 years ago. These ages were obtained on English Rock, which has also yielded ages of 826,000±79,000–851,000±36,000 and 1.62±0.02 million years ago. Tephra deposits in ice cores recovered at Byrd Station may have originated at Marie Byrd Land volcanoes such as these of the Crary Mountains.
The maximum age of each volcano decreases in southeastward direction, from 9.34±0.24 million years old Mount Rees to 2.67±0.39 million years old Boyd Ridge. The pattern of volcanism migrating along the chain has been observed at other mountain ranges such as the Executive Committee Range, where it takes place at a pace of 7 millimetres per year (0.28 in/year) like at the Crary Mountains. It is directed away from the centre of the Marie Byrd Land volcanic province and may reflect the propagation of a fracture in the crust.
West Antarctica has been subject to glaciation since the Oligocene, where a perhaps local ice cap or snow deposit existed at Mount Petras. Volcanoes erupting through ice leave specific geologic structures which can be used to reconstruct the timing and extent of past glaciations. Geologic evidence at the Crary Mountains implies that a substantial West Antarctic Ice Sheet existed during the Miocene, and that fluctuations in its size may have stressed the crust and modulated the activity of volcanoes in its area. Before its formation the Crary Mountains might have been islands. In the Crary Mountains, ice occurred either in the form of slope ice when the mountains were erupting or as a thick continental ice sheet. The glaciers were cold-based and thus did not produce tillites or glacial surfaces, and were probably thin. Glacial erosion took place mainly between 8.55 and 4.17 million years ago; it formed the cirques in Mount Rees and Mount Steere and transported glacial erratics on the mountains.
## See also
- Runyon Rock | [
"## Geography and geomorphology",
"## Geology",
"### Composition",
"### Geologic history",
"## See also"
] | 1,912 | 17,580 |
11,585,526 | Berkley Bedell | 1,165,735,573 | American politician | [
"1921 births",
"2019 deaths",
"20th-century American businesspeople",
"20th-century American politicians",
"American anti–Iraq War activists",
"Businesspeople from Iowa",
"Democratic Party members of the United States House of Representatives from Iowa",
"Iowa State University alumni",
"Military personnel from Iowa",
"People from Spirit Lake, Iowa",
"School board members in Iowa",
"United States Army officers",
"United States Army personnel of World War II"
] | Berkley Warren Bedell (March 5, 1921 – December 7, 2019) was an American Democratic Party politician and businessman who served as the U.S. representative for Iowa's 6th congressional district from 1975 to 1987. After starting a successful business in his youth, Berkley Fly Co., he ran for Congress in 1972, but was defeated by incumbent Wiley Mayne. In 1974 however, Bedell beat Mayne and was elected to the U.S. House.
He was known for his support of representative democracy and his populist style. For example, he would hold town halls and let constituents vote on motions to decide what he would do in Congress on their behalf and these meetings helped Bedell understand the problems of his constituents; as a result, he backed issues that were important to his farming constituency, such as waterway usage fees and production constraints.
Bedell did not seek reelection in 1986 after contracting Lyme disease from a tick bite. Though no longer serving in Congress, he remained active in Iowa politics, strongly supporting Howard Dean in 2004 over John Kerry. In the 2008 presidential election, he met several times with Chris Dodd, but ultimately endorsed Barack Obama.
## Early life
Bedell was born in Spirit Lake, Iowa, the son of Virginia Viola (Price) and Walter Berkley Bedell. Bedell was educated in Spirit Lake public schools. He graduated from Spirit Lake High School in 1939, where he earned spending money with a business in the midst of the Great Depression. His business involved braiding dog hairs around fishhooks, the result of which could be sold as fish flies. He began tying the fly-fishing lures in his bedroom, then he moved the business into his parents' basement. In time, he got space above a grocery store to continue the business full-time.
After graduating from high school, he attended Iowa State University from 1940 to 1942, where he met fellow ISU student Elinor Healy (March 9, 1923 – March 2, 2017) from Saint Paul, Minnesota. Berkley and Elinor married in Minneapolis on August 29, 1943, and their son Kenneth was born in 1947, Thomas in 1950 and daughter Joanne in 1952. Berkley's college and personal life was interrupted in 1942 when he joined the army. He served in the United States Army as first lieutenant and flight trainer from 1942 to 1945. When he got back, he began to garner success from his fishing tackle business. His business became larger, with hundreds of employees and international operations; he had become a millionaire by the 1960s. He served as member of the Spirit Lake Board of Education from 1957 to 1962.
## Political career
### Running for Congress
By the early 1970s, Bedell had decided to run for political office. In 1972, he ran against Wiley Mayne, a Republican incumbent in Iowa's 6th congressional district. Mayne was a staunch supporter of Richard Nixon and secured victory along with the President in a year favorable to the Republicans. Mayne, however, would politically suffer after Watergate (he was one of only a few Republicans to vote against impeaching the President on the judiciary committee.) The damage had already been done, and Bedell defeated Mayne in a 1974 rematch.
During his time at Congress, Bedell took efforts to uphold representative democracy. He held town halls regularly with his constituents, and he would let them vote on motions to decide what he would do in Congress on their behalf. This type of communication told Bedell of the types of issues affecting his farming constituency. Thus, though Bedell had not farmed in his life, he would take steps in Congress to benefit farmers.
### Waterway usage fees
Bedell sponsored several bold initiatives during his tenure in the United States House of Representatives. One initiative, which came from his constituents' problems with the barge industry, focused on waterway usage fees. He introduced legislation in 1977 that would require the barge industry to pay a fee for using the waterways which, Bedell pointed out, the Government paid millions of dollars to create and maintain. Bedell's original plan set the rate the barge industry paid as directly related to the amount the Government spent on waterway projects. This would have the additional effect of helping curb unnecessary waterway projects, and it was the same plan proposed by Pete Domenici in the Senate.
Congress eventually passed a watered-down version of the original plan put forward by Bedell and Senator Pete Domenici. The compromise version enacted a tax on the gasoline barges used and put it into a "trust" for waterway projects. While other supporters of waterway usage fees, including Domenici, backed the compromise, Bedell gave a passioned plea for his colleagues to oppose it. He viewed it as lacking a crucial element of the original plan - that of capital recovery. The trust was optional, and the Government could spend money on waterway projects irrespective of the trust. The compromise was eventually signed by Jimmy Carter. Bedell's original plan never made it through the House of Representatives, but he continued to introduce it in succeeding sessions. It would not, however, get a floor vote in succeeding sessions.
### Farming issues
In 1985, Bedell put forward an agricultural plan that he thought would increase production controls for farmers, thus raising prices for crops. This plan, backed by labor unions and certain Democrats, passed the Agriculture Committee as an amendment to farm legislation. It mandated a referendum that would then be used to determine what types of production controls to enact. The purpose of this plan was twofold: production controls would decrease the aggregate supply of crops, thus making individual crops cost more (which would benefit farmers, who were in the middle of an acute debt crisis). Second, by styling it as a referendum, the farmers would get to decide the severity of the controls.
On the other hand, opponents of the Bedell plan had a very different view of this legislation. Representatives such as Pat Roberts claimed that the referendum was redundant because the farmers already voted the politicians into office, and this bill was an example of the politicians not doing their jobs. The Reagan Administration opposed the bill because of their opposition to production controls, and the President threatened to veto the farm bill if Bedell's plan was left in place. When the bill got to the floor, an amendment was proposed to strike this provision, and it was passed 251–174.
### Investigations of large businesses
While in Congress, Bedell was Chairman of the Small Business Subcommittee, and he used this position to investigate underselling on the part of large oil companies. He also claimed that certain large oil companies underpaid their "windfall taxes" in certain cases and wanted to pass legislation to increase regulations on these corporations.
In these investigations, Bedell quickly gained the support of small gasoline marketers and Congressman Bill Nelson. The chief target, ARCO, was accused of not paying all of its taxes on Alaskan crude oil. In the end, the government tried to make a case against ARCO, but it was eventually dropped in 1985. Bedell used this opportunity to attack the Administration for "not caring" about small business owners, and he advocated that Governmental agencies put aside 1–3% of their research and development money for small businesses.
### Disagreement with Reagan
In late 1982, Congress passed a law which forbade the United States from funding groups aiming to overthrow the Sandinista government of Nicaragua. Then, in 1983, Bedell visited Nicaragua and Honduras along with Representative Robert G. Torricelli. During the trip, Bedell spoke with soldiers, generals, governmental officials and members of the contras. His conclusion at the end of the trip was that Ronald Reagan was aiding the contras in violation of federal law. He promised to hold hearings after returning to Congress. Bedell would later join other House Democrats in demanding documents from the White House related to the contras, but the Reagan Administration refused to provide them. Bedell became angrier with the Reagan Administration as the decade wore on. He called his Central American policies "sheer lunacy," saying that the mining of harbors was an act of war. Bedell would retire from Congress before Reagan's actions in Central America would culminate with the Iran–Contra Affair.
Bedell was a sharp critic of Reagan's agricultural policies, calling for John Block to resign after calling his agricultural plan a failure that was "dead on arrival" in both the House and the Senate. Reagan's agricultural plan consisted primarily of a gradual reduction in farm subsidies. He also attacked the Department of Agriculture for "looking backward" when it dismissed the only expert on organic farming. Also, as chairman of the subcommittee on Department Operations, Research and Foreign Agriculture, which was in charge of regulating USDA operations, he opposed the proposals Reagan had for reforming the organization. The proposals generally involved shifting costs for meat inspections and other USDA duties from the federal government to the industry.
### Alleged customs violations by Berkley and Co.
In 1981, it was revealed in internal memos that Bedell may have known about potential customs violations that his company Berkley and Co. engaged in. It asserted that Bedell had gone to Taiwan in 1973 to discuss "prior violations of customs law" in regard to the sale of fishing rods from the company's Taiwan subsidiary. Bedell responded by denying any wrongdoing, saying that he has not been personally involved in the company in years. In the end, no charges were levied against him, and he was reelected after the story was published.
## After politics
Bedell decided not to seek reelection in 1986 after contracting Lyme disease from a tick bite. Afterward, he founded a center for alternative medicine and was a noted advocate of health freedom. Due largely to his friendship with Tom Harkin, he remained an important political figure in Iowa, with politicians such as Howard Dean meeting him in their trips to the state. Also, the Elinor Bedell State Park was established in 1998 on land donated by Berkley and Elinor Bedell. The park is named after the Congressman's wife.
As an opponent of the Vietnam War, Bedell signed a petition urging against United States military intervention in Iraq. This petition was signed with the names of 70 former Congressmen from the 1970s and was presented in a press conference on March 15, 2003. Bedell said that it was unbelievable for the United States to settle disputes with war, and he said that an Iraq war would be similar to the Vietnam War.
In the 2004 presidential election, Bedell attacked John Kerry for voting for Newt Gingrich's Freedom to Farm Act, which Bedell said wrecked the farm program. Bedell would later officially endorse Howard Dean's candidacy. For the 2008 election, Bedell met with Chris Dodd.
In the 2020 Democratic presidential primary, Bedell endorsed Senator Elizabeth Warren.
Bedell was a member of the ReFormers Caucus of Issue One.
Bedell died in Naples, Florida, on December 7, 2019, at age 98, from complications of a stroke he suffered three days earlier.
## Peace Harbor
Built in 2004, Peace Harbor is Tom and Molly Bedell's former 25,000 square foot home on 1.26 acres with 178 feet of West Lake Okoboji shoreline near Spirit Lake, Iowa. It has a master wing, fifteen bathrooms, eight bedrooms all facing the lake, six garages, an indoor entertainment stage overlooking the water, a gathering room with a Brazilian blue marble floor and seating for over a hundred, a master retreat, master retreat bathroom, receiving room, conference room and private office with sweeping views of West Lake Okoboji, a commercial caterers kitchen, guest suite with its own bar, caretaker suite, caretaker suite kitchen, exercise room, upper level art studio, a movie theater with its own Lakeland Theatre Concession stand, and a large Irish Pub known as Kevin O'Sullivan's Pub. In June 2021, it listed for \$9.9 million and was one of the most expensive homes in Iowa. | [
"## Early life",
"## Political career",
"### Running for Congress",
"### Waterway usage fees",
"### Farming issues",
"### Investigations of large businesses",
"### Disagreement with Reagan",
"### Alleged customs violations by Berkley and Co.",
"## After politics",
"## Peace Harbor"
] | 2,536 | 31,976 |
2,011,385 | Homer the Vigilante | 1,173,148,354 | null | [
"1994 American television episodes",
"Television shows written by John Swartzwelder",
"The Simpsons (season 5) episodes"
] | "Homer the Vigilante" is the eleventh episode of the fifth season of the American animated television series The Simpsons. It originally aired on the Fox network in the United States on January 6, 1994. In the episode, a crime wave caused by an elusive cat burglar plagues Springfield. Lisa is distraught when her saxophone is stolen, and Homer promises to get it back. The police are ineffective, so Homer takes charge of a neighborhood watch. Under his leadership, it becomes a vigilante group which fails to catch the burglar. With the help of Grampa, Homer discovers that the burglar is a charming senior named Molloy. Molloy is arrested, but he outwits the citizens of Springfield and escapes.
The episode was written by John Swartzwelder and directed by Jim Reardon. Sam Neill guest starred in the episode as Molloy. "Homer the Vigilante" was selected for release in a 1997 video collection of selected episodes titled: The Simpsons: Crime and Punishment. It features cultural references to films such as It's a Mad, Mad, Mad, Mad World and Dr. Strangelove.
Since airing, the episode has received positive reviews from television critics. It acquired a Nielsen rating of 12.2, and was the highest-rated show on the Fox network the week it aired.
## Plot
One night, the Simpson family's house is robbed by a cat burglar while the family sleeps; the next morning, the family finds out that several other houses in Springfield have been robbed by the same burglar. The town's residents arm themselves and install security devices to thwart the burglar. A neighborhood watch group is formed and Homer is elected as its leader. The street patrol soon devolves into a vigilante group whose members violate laws instead of catching criminals. When Homer is interviewed on news anchor Kent Brockman's Smartline, the cat burglar calls into the show and reveals he plans to steal the world's largest cubic zirconia from the Springfield museum.
Homer's posse guards the museum, refusing the help of Grampa, as well as Jasper and Molloy, two of Grampa's friends from the Springfield Retirement Castle. After Homer spots a group of teenagers drinking beer, he leaves his post to intervene, but gets drunk with them instead. When the cat burglar subsequently steals the zirconia, Homer is blamed and pelted with fruits and vegetables by the unforgiving townspeople. Later, Grampa deduces that Molloy is the cat burglar and tells his family. Homer captures Molloy at the home, and the surprisingly amiable cat burglar returns the objects he stole. Nevertheless, Chief Wiggum arrests and imprisons Molloy.
At the police station, Molloy asks if Homer and the police officers would like to know where he's hidden all the money he's stolen over the years. When Molloy tells them the stash is hidden under a giant "T" somewhere in Springfield, they rush from the station hoping to find the buried treasure. After checking several possible sites, the crowd returns to get more information from Molloy, who directs them to a large, T-shaped palm tree on the outskirts of town. The residents excavate the site, but find only a box containing a note from Molloy; he lied about the treasure in order to buy himself enough time to escape from his cell. Several citizens continue to dig, hoping that there is a real treasure, but soon find themselves at a loss for ways to get out of the hole they have made.
## Production
The episode was written by John Swartzwelder and directed by Jim Reardon. New Zealand actor Sam Neill guest starred in the episode as Molloy, the cat burglar. Executive producer David Mirkin thought Neill, a big The Simpsons fan, was "lovely" to direct. Mirkin also said Neill was "really game" and did "a terrific job" on the episode. Neill considers recording this episode to be a "high-point" of his career. One scene of the episode features Kent Brockman reporting on the burglaries. Mirkin said this was a joke the staff enjoyed doing because it pointed out how negative and mean-spirited news broadcasts can be, and how they are seemingly "always trying to scare everybody" by creating panic and depression.
"Homer the Vigilante" originally aired on the Fox network in the United States on January 6, 1994. The episode was selected for release in a 1997 video collection of selected episodes titled: The Simpsons: Crime and Punishment. Other episodes included in the collection set were "Marge in Chains", "Bart the Fink", and "You Only Move Twice". It was included in The Simpsons season five DVD set, The Simpsons - The Complete Fifth Season, which was released on December 21, 2004. Creator Matt Groening, supervising director David Silverman, and Mirkin appeared in the episode's audio commentary on the season five DVD. The episode was again included in the 2005 DVD release of the Crime and Punishment set.
## Cultural references
The Molloy character is based on actor David Niven's performance as the character A. J. Raffles, a gentleman thief, in the 1939 film Raffles. The music heard at the beginning of the episode during the burglaries is taken from the film The Pink Panther, in which Niven played The Phantom, a similar character. Flanders tells Homer that his Shroud of Turin beach towels were stolen during one of the burglaries. Homer's dream of riding a nuclear bomb into oblivion is a reference to the famous scene from the film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. Homer says "Take That Maynard G. Krebs", a reference to the Beatnik character from The Many Loves Of Dobie Gillis. Homer's line "So I said, Look buddy, your car was upside-down when I got here. And as for your grandma, she shouldn't have mouthed off like that!" is a reference to Flannery O'Connor's short story "A Good Man Is Hard to Find". The scene of Homer and Principal Skinner talking in front of the museum is a reference to a scene from the television series Dragnet. In a reference to the plot of the 1963 film It's a Mad, Mad, Mad, Mad World, Molloy sends the residents of Springfield on a hunt for a treasure that is buried under a big letter. The ending sequence of the episode also references the film by using the same music and camera angles. In another scene that references It's a Mad, Mad, Mad, Mad World, Bart tricks American actor Phil Silvers into driving his car into a river, just like Silvers's character did in the film.
## Reception
### Critical reception
Since airing, the episode has received mostly positive reviews from television critics. The authors of the book I Can't Believe It's a Bigger and Better Updated Unofficial Simpsons Guide, Warren Martyn and Adrian Wood, thought it was "a bit lacking in focus", but it contained "a number of satisfying set-pieces — we like Professor Frink's walking house security system — and displays Wiggum at his all-time most useless."
DVD Movie Guide's Colin Jacobson wrote: "After the many plots of the prior show, 'Vigilante' maintains a much tighter focus. It’s nothing quite as wonderful an episode as its immediate predecessor, but it’s strong nonetheless. Much of the humor comes from Homer’s newfound power and abuse of it. If nothing else, it’s a great program due to Homer’s reaction to Lisa’s jug playing."
Patrick Bromley of DVD Verdict gave the episode a grade of B, and Bill Gibron of DVD Talk gave it a score of 4 out of 5.
Les Winan of Box Office Prophets named "Homer the Vigilante", "Cape Feare", "Homer Goes to College", "\$pringfield", and "Deep Space Homer" his favorite episodes of season five.
It was also the Liverpool Daily Post's Mike Chapple's favorite episode of the season, together with "Bart Gets an Elephant" and "Burns' Heir".
### Ratings
In its original broadcast, "Homer the Vigilante" finished 41st in the ratings for the week of January 3–9, 1994, with a Nielsen rating of 12.2, equivalent to approximately 11.5 million viewing households. It was the highest-rated show on the Fox network that week. | [
"## Plot",
"## Production",
"## Cultural references",
"## Reception",
"### Critical reception",
"### Ratings"
] | 1,774 | 872 |
10,123,515 | 2007 French Grand Prix | 1,171,403,180 | Formula One motor race held in 2007 | [
"2007 Formula One races",
"2007 in French motorsport",
"French Grand Prix",
"July 2007 sports events in France"
] | The 2007 French Grand Prix (formally the Formula 1 Grand Prix de France 2007) was a Formula One motor race held on 1 July 2007 at the Circuit de Nevers Magny-Cours, Magny-Cours, France. It was the eighth race of the 2007 FIA Formula One World Championship. Kimi Räikkönen for the Ferrari team won the 70-lap race starting from third position. Felipe Massa, who started the race from pole position, finished second in the latter Ferrari, with Lewis Hamilton third in a McLaren car.
Massa controlled most of the race from the front, but Räikkönen overtook him during the second round of pit stops to take the lead.
## Report
### Background
Following the , the Formula One teams headed to Silverstone for a three-day test. Nine teams participated, with the exception of Honda and Super Aguri, who opted to test at the Jerez circuit. Neither Ferrari nor McLaren were fastest on the first two days at Silverstone, rather it was Toyota that was fastest on both of the days. However, on the third and final day of testing Felipe Massa put Ferrari on top with a time of 1:20.805. The nearest challenger, Nico Rosberg was 0.469 behind, with Fernando Alonso a further 0.010 behind. With Ferrari fastest on the third day, both of their drivers, Massa and Kimi Räikkönen were very confident heading into the French round of the season.
Off track Ferrari launched a criminal investigation in Modena against their own employee Nigel Stepney. Stepney's lawyer ruled out sabotage claims, and Stepney said it was part of a "dirty tricks" campaign.
There was also controversy at the rear-end of the grid, as Spyker asked the Fédération Internationale de l'Automobile (FIA) to look at the new updates that were put on the Super Aguri at Indianapolis to see whether the Aguri team are receiving current Honda parts. On Saturday, Super Aguri's managing director Daniel Audetto said "We have rules – they [Spyker] can just protest. Tell them to protest – if I have something to complain about, I will make a protest."
Robert Kubica was back in his BMW after his crash at the . Early on Saturday, Nick Heidfeld was cleared to continue in his BMW after experiencing back pains during Friday practice.
### Practice
Ferrari dominated both practice sessions on the Friday, with Räikkönen fastest in the first Practice Session and Felipe Massa was fastest in the second Practice Session. Behind the Ferraris, Alonso was third in his McLaren, but seven tenths behind, with his teammate and World Championship leader Lewis Hamilton sixth, but lost nearly an hour of the session due to car trouble. The two McLarens were split by David Coulthard and Nico Rosberg.
Hamilton managed to recover from his morning trouble to post the fourth fastest time in the second Practice Session on Friday afternoon. The Ferraris were still leading, but Massa was fastest, just 0.035 seconds ahead of Räikkönen. However, one of the major surprises came from Scuderia Toro Rosso, as Scott Speed posted the third quickest time, with Vitantonio Liuzzi posting the fifth quickest time. During the session, Liuzzi was involved in a bizarre incident with Anthony Davidson; Davidson exited his garage, and smashed his Super Aguri into the side of Liuzzi's Toro Rosso; knocking his front wing off in the accident. Alonso finished the second practice session eighth.
In the final practice session on Saturday morning, Hamilton managed to beat Ferrari, with the Englishman ahead of second-placed Massa by 0.063 seconds. Hamilton and the two Ferraris completed the top three, but Alonso was again down in eighth, having missed nearly the whole of the session with a faulty brake sensor. The Renaults sparked a return to form with Heikki Kovalainen and Giancarlo Fisichella fourth and fifth, both ahead of rivals BMW, who were sixth and fifteenth respectively.
### Qualifying
Both Spykers and both Super Aguris were knocked out of the first phase of qualifying, along with Alexander Wurz's Williams and Vitantonio Liuzzi's Toro Rosso. For Super Aguri's Takuma Sato, it did not matter where he qualified, as he was docked ten places, due to overtaking Jenson Button under yellow flags at the last Grand Prix. Spyker's Adrian Sutil was hoping for a wet race after an unspectacular qualifying. At the front end of the grid, the McLarens were first and fourth, with Hamilton on top, and the Ferraris splitting them in second and third. Heikki Kovalainen rounded out the top five.
David Coulthard failed to complete a single timed lap in the second part of qualifying due to a gearbox problem, and started sixteenth. Both Hondas were knocked out also, along with Mark Webber, Scott Speed and Ralf Schumacher. Both Button and Barrichello were happier with the upgraded Honda, with Button saying "the car is certainly better than the last race in Indianapolis, although the positions don't reflect that". Hamilton was again fastest in Part two, with teammate Alonso down in fifth. Massa, Räikkönen and Kubica rounded out the top four.
After topping the first two parts of qualifying, Hamilton dropped to second in the third and final part, with Massa taking pole position, just 0.070 ahead of the Englishman. Massa stated in the post-Qualifying press conference that "it looks like we [Ferrari] are back and fighting", with Hamilton believing pole was possible had he not made a mistake at Turn 15. Räikkönen qualified third as he lost time on one corner, which he called "all my fault". Alonso was unable to complete a single lap in the session due to a gearbox problem. He was classified tenth and stated that he'd "prefer a wet race". Behind Räikkönen was Kubica in fourth, but despite qualifying fifth, Giancarlo Fisichella believed there was "potential for more" from the Renault. Fisichella's teammate Kovalainen was sixth, with Nick Heidfeld seventh. Jarno Trulli, Nico Rosberg and Alonso rounded out the top ten. Rosberg also had a slight gearbox problem in the final part of qualifying, which he believed cost him a few tenths coming into the final few corners.
### Race
Three people were killed in a helicopter crash at the circuit on Saturday night. They were Emmanuel Longobardi, a PR operative; the pilot Pierre Bennehard; and Simon McGill, a New Zealand national. A Bridgestone employee and his niece were injured. Longobardi was a popular member of the Formula One Paddock.
Adrian Sutil in the Spyker opted to start from the pitlane. Massa got off to the best possible start and retained his lead, but Räikkönen passed Hamilton into Turn One. At the back of the field, Anthony Davidson hit the back of Vitantonio Liuzzi's Toro Rosso. The Toro Rosso came back onto the track and smashed into the side of the Super Aguri. Liuzzi said afterwards that "all we can do is wait for Silverstone and hope that the definite improvement we have made with the car pays off". At the Adelaide hairpin, Jarno Trulli rammed into the back of Heikki Kovalainen. Trulli was out, but Kovalainen continued at the back of the field. Trulli apologised to Kovalainen after the race, and declared it "a racing accident". The tangle promoted Alonso up to eighth.
Robert Kubica was quickly losing ground on the two Ferraris and Hamilton. Alonso passed Rosberg for seventh, and quickly closed in on Heidfeld, but stayed behind him until he pitted on Lap 16. Alonso attempted to get past on Lap five, but ran wide, giving the position back to the German. Hamilton also pitted on Lap 16, with Massa pitting on Lap 19 and Räikkönen on Lap 21.
Räikkönen decreased Massa's lead back down from four seconds to two seconds. Alonso passed both Heidfeld and Fisichella in the middle section of the race. In the second round of stops, Räikkönen pitted two laps after Massa. These two laps extra gave Räikkönen the lead after his second stop, with Massa now second. Alonso pitted for the second time on lap 35. Heidfeld and Fisichella pitted several laps later, and both of them got out in front of Alonso. Christijan Albers had an unusual accident, his car left the pit lane with the fuel rig attached without being detached by the pit crews. Eventually, he drove to the side of the track and retired.
Räikkönen won the race from teammate Massa, with Hamilton third. This marked Ferrari's first one-two of the season. Massa stated that the race win was lost "because of traffic", while teammate Räikkönen stated he was "much happier with the car", as he became the first Finn to win the race. Kubica was a lonely fourth, with Fisichella, Heidfeld, Alonso and Button rounding out the points. Despite it being Button's first points of 2007, he said that he was "not getting too excited about it". Despite finishing seventh, Alonso was still confident about his title chances, saying that he hoped the "two points are important at the end of the season".
## Classification
### Qualifying
Notes:
- – Fernando Alonso did not set a time in Q3 due to a gearbox problem.
- – David Coulthard did not set a time in Q2 due to a gearbox problem.
- – Takuma Sato was given a drive-through penalty for passing Button under yellow flags at the but retired from the race before he could serve the penalty, so the penalty was changed to a ten-place grid penalty at this event.
### Race
## Championship standings after the race
Drivers' Championship standings
Constructors' Championship standings
- Note: Only the top five positions are included for both sets of standings.
## See also
- 2007 Magny-Cours GP2 Series round | [
"## Report",
"### Background",
"### Practice",
"### Qualifying",
"### Race",
"## Classification",
"### Qualifying",
"### Race",
"## Championship standings after the race",
"## See also"
] | 2,163 | 32,011 |
707,973 | Jordanville railway station | 1,172,089,058 | Railway station in Melbourne, Australia | [
"Railway stations in Australia opened in 1930",
"Railway stations in the City of Monash"
] | Jordanville railway station is a commuter railway station in the suburb of Mount Waverley in the south east of Melbourne, Victoria, Australia. The station opened in 1930 as a part of the extension from East Malvern to Glen Waverley. The station consists of a single island platform which is connected to Winsor Avenue and Huntingdale Road via a pedestrian subway.
Jordanville station is currently served by the Glen Waverley line which is a part of the Melbourne Railway Network. Additionally it is served by bus route 767. The station is approximately 17 kilometres (11 mi) or around a 28-minute train ride away from Flinders Street.
## Description
Jordanville railway station is located in the suburb of Mount Waverley. On the south side of the station is Winsor Avenue and Huntingdale Road is to the west. The station is owned by VicTrack, a state government agency, and is operated by Metro Trains Melbourne. The station is approximately 17 kilometres (11 mi) or around a 28-minute train ride away from Flinders Street.
Jordanville station consists of an island platform which is connected to Winsor Avenue and Huntingdale Road via a pedestrian subway. The length of the platform is approximately 160 metres (520 ft), long enough for a Metro Trains 7-car HCMT. There is a single station which primarily functions as a waiting room.
The main car park at the station is located on Winsor Avenue just south of the station. In addition to the car park there is a bicycle shed with storage for 26 bikes. Although there are ramps they do not fully comply with the Disability Discrimination Act of 1992 as the gradient of the ramps is steeper than the maximum of 1:14 allowed under the Act.
### Services
The station is currently served by the Glen Waverley line which is operated by Metro Trains Melbourne. Services to Glen Waverley travel east. Services to the city head to Burnley, joining the Belgrave, Lilydale, and Alamein lines before heading to Richmond and traveling through the City Loop in a clockwise direction.
Platform 1:
- all stations and limited express services to Flinders Street
Platform 2:
- all stations services to Glen Waverley
#### Transport Links
Jordanville is served by bus route 767 which departs the station from the bus stop on Huntingdale Road.
- : Westfield Southland – Box Hill station
## History
Jordanville station opened on 5 May 1930, when the railway line from East Malvern was extended to Glen Waverley. The station was named after the Jordan family, mainly John Jordan who was an early settler and shire councillor. The original name of the station, Kabbareng, is an Indigenous word meaning "upper". The name was controversial, as evidenced by a letter sent to the editor of The Argus, on 4 March 1930, using the pseudonym "Anti-Kabbareng". An article in The Age, on 21 March 1930, stated that: "At the last meeting of the Mulgrave Council indignation was expressed at the name of Kabbareng being selected for the railway station at Box Hill-road on the new Darling-Glen Waverley line. The council's recommendation was Jordan. It was decided to ask the district Parliamentary representatives to take up the matter in support of the name selected by the council."
In the 1950s, the level crossing was removed at Jordanville station by moving the railway above Huntingdale road.
In 2014, Metro Trains Melbourne was forced to upgrade the track near Jordanville station due to the poor maintenance of tracks. | [
"## Description",
"### Services",
"#### Transport Links",
"## History"
] | 753 | 8,989 |
44,966,462 | Live in Tokyo (Charles Tolliver album) | 1,082,329,443 | Live album by Charles Tolliver | [
"1974 live albums",
"1975 live albums",
"Charles Tolliver live albums",
"Live albums recorded in Tokyo",
"Mosaic Records live albums",
"Post-bop albums",
"Strata-East Records live albums"
] | Live in Tokyo is a live album by the American jazz trumpeter-composer Charles Tolliver and his quartet Music Inc. Their fifth album overall, it was recorded on December 7, 1973, at Yubinchokin Hall in Tokyo during Tolliver and Music Inc.'s first tour of Japan. The quartet – featuring the pianist Stanley Cowell, the bassist Clint Houston, and Clifford Barbaro on drums – played the show in mostly fast tempo and performed three of Tolliver's original compositions, along with a ballad composed by Cowell and the Thelonious Monk standard "'Round Midnight".
Produced by Tolliver, Live in Tokyo was released about a year after the concert on LP by Strata-East Records, his independent record label. It was later reissued on CD and compiled by the Mosaic label for a three-disc box set of Music Inc.'s live recordings from that same period, titled Mosaic Select. Critics have received the Tokyo disc favorably, giving praise to the quartet's passionate post-bop and hard bop performances. Their innovative interpretation of the Monk piece was highlighted in particular, although some reviewers questioned the sound quality throughout the recordings.
## Background
In the early 1970s, the jazz scene was dominated by the twin movements of fusion and avant-garde jazz. Meanwhile, more modernist performers of the previous decade's post-bop development, such as the saxophonist Jackie McLean and the pianist Andrew Hill, experienced career declines. Charles Tolliver, who had played as a side musician for both, was now leading both an experimental big band and a quartet (formed in May 1969 and billed as Music Inc.) to explore a creative middle ground between the avant-garde and the more traditional hard bop style. Helping raise his stature among hard bop peers, Tolliver's trumpet style employed a variety of techniques and musical ideas while based in a tradition of melodic, swing-rhythmed playing associated with predecessors such as Fats Navarro, Clifford Brown, Lee Morgan, and Donald Byrd. Tolliver was also among a wave of noncommercial jazz musicians influenced by the spirit of the period's Black Power movement and the music of John Coltrane, employing the saxophonist's consistently strong dynamic of delivery and turbulent harmonies into his own harmonic jazz improvisations.
In 1971, Tolliver founded Strata-East Records, a New York-based independent record label, with his quartet's pianist Stanley Cowell in an effort to showcase their recordings and those of his contemporaries. He had become close friends with Cowell while performing together in the late 1960s as part of the drummer-composer Max Roach's quartet, a tenure which had gained Tolliver renown as one of the most innovative trumpeters in jazz. With Strata-East, Tolliver and Cowell became the first two young African-American musicians to head a jazz label, while releasing recordings by leading avant-gardists like Clifford Jordan and Pharoah Sanders (Coltrane's former sideman). In late 1973, having released four albums together, Tolliver and Music Inc. embarked on their first tour of Japan, where Live in Tokyo would be recorded.
## Recording and performance
The recording took place at Yubinchokin Hall in Tokyo on December 7, 1973, the last date of the tour. According to the album's liner notes, it was recorded "in association" with Takafumi Ohkuma and Kuniya Inaoka from the Japanese jazz label Trio Records. In concert, Tolliver led the quartet, featuring Cowell on piano, Clint Houston on bass, and Clifford Barbaro on drums.
A largely uptempo performance, the show opened in this very vein with two Tolliver-penned compositions, "Drought" and "Stretch". The former featured an extended and sharp-toned solo by Tolliver, while the latter began with roughly five minutes of Houston soloing that led Music Inc. into a relaxed, dark-toned blues accompanied by Cowell's block chords. The quartet transformed and concluded "Stretch" with a purely swing-rhythmed performance. The midtempo Cowell-composed ballad "Effi" began in a waltz time signature and proceeded to different sections, during which the musicians employed complex fills and gradual variations that allowed them to explore modes from the blues, Latin, and Eastern music.
While "Effi" was intended to end the concert, Music Inc. performed a cover of Thelonious Monk's "'Round Midnight" (1944) as an encore. Segueing from the tempo of "Effi", the quartet opened in ballad pace but abruptly transformed in tempo and reworked "'Round Midnight" in an aggressive manner atypical for the jazz standard. After showcasing a solo by Tolliver, the performance slowed down to ballad tempo again and ended on a series of bars played in uptempo.
## Release and reception
Live in Tokyo was released on LP by Strata-East around 1974 or 1975. Trio also released the LP in Japan. Reviewing the album in January 1975, a writer for Billboard magazine considered it a "fine addition" to Tolliver and Music Inc.'s catalog of "some of the better jazz albums in recent years". The writer also praised the trumpeter's solos and the accompaniment from Cowell, while commenting on their interpretation of "'Round Midnight" as giving a "fresh new twist" to the composition. Howard Mandel of DownBeat called Live in Tokyo a "very good" LP. Cadence magazine's Bob Rusch was less receptive, finding it "good", yet inferior to some of Tolliver's other Strata-East recordings. He felt the trumpeter sounded uncertain and poorly recorded at times, while the rhythm section of Houston and Barbaro did not provide entirely reliable accompaniment, although he added that Tolliver and Cowell played well enough to not always need it. Rusch was most impressed by "'Round Midnight", calling it a "big surprise". According to The New York City Jazz Record's Thomas Conrad, "small-group Music Inc. recordings" like Live in Tokyo "should have made Tolliver a star (and Cowell too) [...] But for all the cult mystique surrounding Strata-East, the label never made anybody famous."
The album was reissued on CD in 1998 by Strata-East and Charly Records. In Richard Cook and Brian Morton's The Penguin Guide to Jazz on CD (2000), it was appraised as an indication to "some measure of Tolliver's stature as a player", as his performance here was mostly perfect. "Drought" was singled out in the guide for showcasing "his radical simplicities", Barbaro's consistent rhythm, and Houston's typically aggressive bass playing, "a consistent feature" of a concert that only faltered at the end with "'Round Midnight". While the overall audio was well regarded, Cowell was not "recorded to best advantage", according to the guide. In a contemporaneous review for AllMusic of the CD reissue, Scott Yanow applauded Tolliver's playing on the extended renditions of his original compositions and the "adventurous" version of "'Round Midnight". However, he noticed occasionally distorted audio quality, particularly in the rendering of some trumpet sounds, which led him to assign a lower grade to what he deemed an otherwise "strong" post-bop album.
In 2005, Live in Tokyo was reissued by Mosaic Records as the second disc of the three-CD limited-edition box set Mosaic Select. The set compiled Tolliver's live quartet recordings for three of his early-1970s Strata-East LPs, which by that point had gone out of print.[^1] Richard Brody, who had been a big fan of the original LP, reviewed the box set for The New Yorker and appraised the recordings collectively as "fervent, intimate classics of live jazz". He added that "they convey the spirit of the cramped bandstand and the rapt crowd as keenly as Charles Mingus's Debut recordings from the Café Bohemia, Eric Dolphy's Five Spot dates, and John Coltrane's sets from the Village Vanguard". Thom Jurek from AllMusic was also very impressed by the Tokyo disc, highlighting Tolliver and Cowell's "symbiotic" musical interactions on tracks like "Drought" and "Stretch", while finding "'Round Midnight" to be a "radical" interpretation that "has to be heard to be believed".
In All About Jazz, Javier Aq Ortiz described the box set's music as "superior hardcore hard bop material with sympathies toward structured-yet-freer jazz stylistic tendencies" and much "gritted heart" in both compositional and performance aspects. From the Tokyo disc, he called "Truth" "forcefully melodic and endowed with just the right touch" by the quartet and enjoyed "'Round Midnight" for being "all about deeply gutted feeling", while noting the "brighter" recontextualization of Houston's "sinuously mysterious bass solo" on "Effi". JazzTimes critic Nate Chinen also wrote favorably of Music Inc.'s performances on "Effi" and "'Round Midnight". But he ultimately found the Tokyo recordings somewhat marred by inconsistent sound quality and expressed some disappointment in the rhythm section, specifically observing a lack of rhythmic poise in Barbaro on "Drought".
## Track listing
All compositions are by Charles Tolliver, except where noted.
Side A
1. "Drought" – 12:22
2. "Stretch" – 10:42
Side B
1. "Truth" – 7:07
2. "Effi" (Stanley Cowell) – 10:46
3. "'Round Midnight" (Thelonious Monk, Cootie Williams) – 8:38
## Personnel
Credits are taken from the album's liner notes.
Music Inc.
- Charles Tolliver – trumpet, recording production
- Stanley Cowell – piano
- Clint Houston – bass
- Clifford Barbaro – drums
Technical personnel'''
- Toshinari Koinuma – concert production
- Masahiko Yuh – MCing
- Kunio Arai – recording engineering
- Shigehisa Nagao – floor engineering
- Ted Plair – graphics
[^1]: The first disc of Mosaic Select is ''Live at Slugs (recorded in 1970), the second disc is Live in Tokyo, and the third disc has six previously unreleased performances from the other two discs' concerts. | [
"## Background",
"## Recording and performance",
"## Release and reception",
"## Track listing",
"## Personnel"
] | 2,192 | 29,412 |
11,643,183 | 801 Grand | 1,167,101,781 | Skyscraper in Des Moines, Iowa, US | [
"1991 establishments in Iowa",
"Financial services company headquarters in the United States",
"HOK (firm) buildings",
"Modernist architecture in Iowa",
"Office buildings completed in 1991",
"Skyscraper office buildings in Des Moines, Iowa"
] | 801 Grand High Rise Building (referred to as the 801 Grand Building and previously known as The Principal Building) is a 45-story skyscraper in Des Moines, Iowa, United States, operated and managed by JLL Americas and owned by Principal Financial Group (Principal Real Estate). The 801 Grand Building was constructed in 1989 and is the tallest building in Iowa. The building is part of a larger downtown campus run by Principal Financial Group and features a skywalk and an eight-sided copper pyramid at its top.
## History
Formal construction of the 801 Grand Building began in 1989, with Principal Financial Group serving as the developers and owners. In February 1989, the foundation, consisting of 38,860 cubic yards (29,710 m<sup>3</sup>) of concrete, was poured, and 139 caissons were drilled. The building was designed by Hellmuth Obata and Kassabaum. During the design phase of the building, the tower was designed to house office spaces and blend with the architecture of the local area. The tower cost \$70 million to construct, with an additional \$19 million parking lot being constructed and financed by the city of Des Moines. The building featured 705,000 square feet of office space, with 62 percent having been leased prior to completion of the building. In 1990, Democratic gubernatorial candidate Donald Avenson toured the nearly completed building, specifically visiting the 40th and 41st floors. In total, the project involved approximately 500 workers representing a dozen separate labor unions.
The 45-story 801 Grand Building was completed and opened in 1991. The company JLL Americas serves as the buildings' manager. When completed, the 630-foot (190 m) building overtook the Ruan Center as the tallest building in Iowa. The building's height was taller than One Kansas City Place (626 feet (191 m) tall) and the Metropolitan Square in St. Louis (591 feet (180 m) tall), making it the tallest building in the Midwest between Chicago and Denver. This record was broken by Omaha's First National Bank Tower in 2002.
In 2014, Principal Financial Group refitted their entire downtown campus with diode lights. Originally, the campus featured white lights but these were changed to LEDs due to issues with the white lights attracting and killing corn borer moths. This project was part of a \$284 million renovation.
## Design
The 801 Grand Building follows a postmodern design. The tower's exterior is built out of granite with the upper levels featuring terraces and setbacks. This was designed to minimize the building's impact on the city's skyline. In total, the building's walls required a total of 3,000,000 pounds (1,400,000 kg) of granite. The granite used in the 801 Grand's exterior is specifically Venetian gold granite, which is known for its distinctive golden color. The stone used for the 801 was originally mined in Brazil, processed in Italy, and imported to Des Moines. Conversely, the windows are framed with a darker variant of granite.
The top of the building is an eight-sided pyramid covered in copper. Originally, the designers intended the copper to turn to a verdigris color via oxidation. Furthermore, the original 1987 designs indicate a light green cap that was designed to blend the building's profile in with the rest of Des Moines's skyline. This was never achieved due to the relatively low levels of sulfur pollution in the atmosphere, which led to the copper pyramid oxidizing to a deep brown color.
The bottom three floors of the 801 Grand are designated for retail stores and restaurants, with the upper levels designated for office space. The third floor connects to a skywalk system and the top two floors serve as a private restaurant. The build was named one of the 50 most significant Iowa Buildings of the 20th Century by the Iowan chapter of the American Institute of Architects.
## Notable tenants
In 1993, the 801 Chophouse was established on the second floor of the 801 Grand. In 2022, the Des Moines Register listed the 801 Chophouse among the 12 best steakhouses in Des Moines. This restaurant serves as the chain's flagship and features a gallery of cattle-themed artwork. The steakhouse has been used as a de facto clubhouse during the Iowa caucuses, and it is commonly visited by politicians and news personnel.
In 2010, the First Church of Christ, Scientist relocated from their Des Moines building to the 801 Grand. In 2020, insurance company F&G moved their headquarters to the 801 Grand Building. This move involved a \$9.4 million renovation of 83,000 square feet (7,700 m<sup>2</sup>) of office space.
## Gallery
## See also
- List of tallest buildings in Iowa
- List of tallest buildings by U.S. state | [
"## History",
"## Design",
"## Notable tenants",
"## Gallery",
"## See also"
] | 1,017 | 22,225 |
39,601,746 | Royal Stag | 1,166,486,559 | Brand of Indian Whisky | [
"Alcoholic drink brands",
"Indian whisky",
"Pernod Ricard brands",
"Products introduced in 1995"
] | Royal Stag, also known as Seagram's Royal Stag, is an Indian whisky launched in 1995. It is available in many countries across the world in various pack sizes. It is Pernod Ricard's best selling brand by volume. It is a blend of grain spirits and imported Scotch malts. It is commonly available in 1 L, 750 mL, 375 mL and 180 mL bottles and also available in 90 mL and 60 mL bottles. The brand is named after a species of deer famous for its antlers, that is also featured in its logo. It is produced in several company-owned as well as bottler-owned distilleries. It was the first whisky brand launched in India that did not use any artificial flavours.
Pernod Ricard has identified Royal Stag along with Seagram's Imperial Blue, Seagram's Blenders Pride, Chivas Regal and Seagram's 100 Pipers as the company's five core brands to build its spirits business in India. Royal Stag sold 12.3 million cases in 2011, toppling Absolut Vodka, to become Pernod Ricard's biggest selling brand in its global portfolio of alcoholic beverages. Royal Stag sold 18 million cases in 2016.
## History
Seagram's Royal Stag whisky, a blend of grain spirits and imported Scotch malts, was launched in 1995. The brand redefined the spirits space by not using molasses but choosing instead to pioneer grain spirit blended with Scotch malts. It is named after a deer species known for long antlers. It is the first whisky brand launched in India which did not use any artificial flavour. Seagram's global business was jointly acquired by Pernod Ricard and Diageo in December 2000. The two companies later split Seagram's business based on the previously announced framework agreement signed between them and Royal Stag became a Permod Ricard brand.
In calendar year 2001, Royal Stag was selling over 125,000 cases per month and sold approximately 1.75 million cases in 2002. The brand's annualised sales during the 2004 calendar year crossed 3 million cases, and increased to nearly 4 million cases in 2006. Royal Stag was ranked second among Indian spirits brands in Impact International's 2008 list of "Top 100 Brands at Retail Value" with a retail value of US\$505 million. The brand reported sales of 8 million cases in 2009 and nearly 10.6 million cases in 2010.
Royal Stag sold 12.3 million cases in 2011, toppling Absolut Vodka which sold 11.3 million cases, to become Pernod Ricard's biggest selling brand in its global portfolio of alcoholic beverages.
Pernod Ricard launched a premium version of Royal Stag, called Royal Stag Barrel Select in December 2011 in India, Gulf and a few other Asian markets. In the Indian whisky market, Barrel Select is positioned between the deluxe and premium segment occupied by the company's Royal Stag and Blenders Pride brands respectively. United Kingdom-based branding and packaging consultants CARTILS developed the strategic positioning, branding, bottle shape, packaging and mono carton for Barrel Select. CARTILS felt it was necessary to retain brand familiarity whilst elevating Barrel Select to a more premium level than Royal Stag, to avoid portfolio cannibalisation. The Barrel Select bottle has rectangular shape similar to Royal Stag, but it has been tapered. The bottle also features a dominantly positioned, gold two-tone illustration of the stag that is part of the Royal Stag logo.
## Marketing
Royal Stag is placed in the deluxe segment of the Indian whisky market and is priced to target the upper middle class aged 25–40 years. The brand's main national competitor, at its price point, is United Spirits Ltd's McDowell's No.1 whisky. Royal Stag also faces competition from Radico Khaitan's 8 PM Royale, Mason & Summers' "Royal Crown", United Spirits Ltd's Royal Mist whiskies and Allied Blenders & Distilleries (ABD)'s Officer's Choice Black. Pernod Ricard has identified Royal Stag along with Imperial Blue, Blenders Pride, Chivas Regal and 100 Pipers as the company's five core brands to build its spirits business in India. 5 brands have been divided in 2 categories, Chivas Regal and 100 Pipers come under "lifestyle business " category while the other brands, including Royal Stag, are designated as India-made foreign liquor (IMFL). It is marketed in 1 L, 750 ml, 375 ml and 180 ml bottles and also available in 90 ml and 60 ml bottles.
Advertising alcoholic beverages is banned in India as per the Cable Television Network (Regulation) Amendment Bill, which came into effect on 8 September 2000. To circumvent the ban liquor manufacturers use surrogate advertising or develop associate properties. Royal Stag uses three themes – Mega Movie, Mega Music and Mega Cricket – to promote the brand. According to Seagram India's vice-president of marketing Bikram Basu, "We've developed Royal Stag Mega Cricket and Royal Stag Mega Movies to promote the brand". Mega Cricket sells cricket gear, and sponsors cricket events, and Basu claims that Mega Movies sponsors "around 8–10 national releases of Hollywood movies every year." The brand often uses cricketers and Bollywood stars in its advertising. The brand's slogan is: "It's your life, make it large".
In 2006, a Royal Stag advert featuring Harbhajan Singh without his turban, with his hair tumbling down over his shoulders, outraged orthodox Sikhs, who burnt effigies in the city of Amritsar. Sikh clergy and its representative body, the Shiromani Gurdwara Parbandhak Committee (SGPC) demanded an apology from Singh and demanded that Pernod Ricard India withdraw the ad, which the SGPC termed, an "offensive representation which has hurt the feelings of Sikhs." Singh later apologised saying, "I apologise. In case I have hurt the feelings of my people, it was really not my intention."
A Royal Stag ad in 2011 featuring Harbhajan Singh, showed him opting to not work in his father's ball bearing factory and focus on cricket instead. The commercial ends with him asking the viewer, if with his achievements, "Have I made it large?" Royal Stag's rival, United Spirits Ltd's McDowell's No. 1 Platinum whisky mocked the ad in its commercial featuring Mahendra Singh Dhoni. The ad showed Harbhajan look-alike making ball bearings the size of gym balls at his father's factory, asking if he had "made it large", only to get slapped by his father for being incompetent. Dhoni then tells the viewer, "Zindagi main kuch karna hai to large chodo, kuch alag karo yaar" (If you want to do something in life, then forget large, do something different ). The ad is considered to be a rare example of a spoof in surrogate advertising. The Economic Times quoted an industry official as saying, "It is in bad taste, this type of advertising has never been used in the Indian liquor industry." Harbhajan served a legal notice to United Spirits Ltd on 18 July 2011 claiming that the commercial mocked him, his family and the Sikh community. The notice was sent to Vijay Mallya, UB Executive vice-chairman SR Gupte, President & CFO Ravi Nedungadi, Deputy President Harish Bhat and Executive VP (Corporate Affairs) Nandini Verma. It was sent by Avtar Kaur, Harbhajan's mother, through his lawyers, Dewani Advocates & Consultants. Kaur stated these kinds of advertisements brought "disunity and friction" in the Indian cricket team and could be termed "anti-national". The notice also demanded that the company publicly apologise to the family "through widely-read newspapers as well as television channels prominently", remove the advertisement within three days of receiving the notice and compensation of ₹100,000 (US\$1,300). The United Breweries Group withdrew the ad on 22 July 2011 stating that had done so "in the interest of the game of cricket" and fearing that the commercial could be "misused by vested interests to further their own agenda". The company also stated that the view of the management was that there was no maintainable case.
### Brand ambassadors
In 2002, Seagram signed eight cricketers to endorse Royal Stag, including Harbhajan Singh (India), Marvan Atapattu (Sri Lanka), Wasim Akram (Pakistan), Glenn McGrath (Australia), Jonty Rhodes (South Africa), Mervyn Dillon (West Indies), Stephen Fleming (New Zealand), and Andy Flower (Zimbabwe). The campaign was handled by Ogilvy & Mather. Seagram spent ₹2.5 crore (US\$310,000) on this promotion. Following this contract, in 2004, Pakistan Civil Court ruled that Wasim Akram had hurt sentiments of Muslims and was fined 25,000 Pakistani rupees (£238) and ordered to apologize the nation. While Akram's lawyer maintained stand that Akram had never appeared in any advertisement of alcoholic product.
Other cricketers that have featured as brand ambassadors or have appeared in Royal Stag advertising include Gautam Gambhir, Jonty Rhodes, Mahendra Singh Dhoni, Ricky Ponting and Yuvraj Singh.
The brand's first TV commercial with Saif Ali Khan as brand ambassador, aired in 2007. The campaign was developed by creative agency Ogilvy & Mather. It also featured cricketers Mahendra Singh Dhoni, Yuvraj Singh, Harbhajan Singh and Robin Uthappa. According to Bikram Basu, vice-president, marketing, Seagram India, "The TVC [television commercial] intends to further strengthen the brand's positioning of "Make it Large". The campaign defines the larger than life attitude associated with Royal Stag. It targets the party loving youth of the country, who aspire to make it large in every aspect of their lives and communicates the brand message in a truly fast-paced and international way."
On 10 February 2010, Pernod Ricard India announced that it had signed Shahrukh Khan, for an undisclosed amount, as the brand ambassador for Royal Stag, for a period of one year. The company said that Shahrukh would work in tandem with Saif Ali Khan, who has been the brand ambassador since 2007. In April 2013, social activist T Satish Kumar and student leader Banoth Amru Naik, from the Nalgonda district of Andhra Pradesh, filed a complaint with the State Human Rights Commission (SHRC) against Telugu film actor Mahesh Babu for endorsing Royal Stag. The annulment of the agreement would result in Sri Lanka Cricket losing its rights to organise matches at the stadium.
In 2014 Pernod Ricard India announced its signing of Bollywood actors Ranveer Singh and Arjun Kapoor as brand ambassadors. General manager of Marketing Raja Banerjee said that, "We firmly believe that the dynamic duo represents the dreams of this country and therefore would reinforce our brand positioning". However, they maintained that Shah Rukh Khan would continue to promote the brand.
### Sponsorship
The Royal Stag brand often sponsors musical and sporting events. It sponsored the Sahara Cup matches in Toronto, Canada from 1996 to 1999. Under the name "Seagram's Royal Stag Mega Music", the brand sponsored a multi-city music tour featuring Strings, along with Saif Ali Khan (then brand ambassador) and Indian rock 'n roll band Parikrama in January 2008. Royal Stag is the title sponsor of the Mirchi Music Awards.
## Sales
In 2002, Seagram's Imperial Blue and Royal Stag emerged as the fastest growing brands in the domestic market. Royal Stag saw 53% rise in its sale from 1.12 million cases in 2001 to 1.75 million case in 2002. In 2010, Royal Stag first time crossed the mark of 10 million cases and Pernod Ricard became the first multinational company to cross this mark in India. In 2013 calendar month, Royal Stag first time crossed retail sale worth more than \$1 billion. It had a total of \$1.3 billion in retail sale. Royal Stag sold 16.1 million cases in 2014 and remained the third biggest-selling whisky in India from 2011 behind Officer's Choice and McDowell's No.1.
The following table shows the annual sales of Royal Stag:
## See also
- India-made foreign liquor
- List of Indian beverages | [
"## History",
"## Marketing",
"### Brand ambassadors",
"### Sponsorship",
"## Sales",
"## See also"
] | 2,677 | 28,948 |
70,639,304 | Ignace Tonené | 1,172,417,222 | Algonquin chief (1840/41–1916) | [
"1840s births",
"1916 deaths",
"19th-century Canadian politicians",
"Algonquin people",
"Canadian fur traders",
"Canadian gold prospectors",
"History of Temagami",
"History of mining in Canada",
"Hudson's Bay Company people",
"Indigenous leaders in Ontario",
"People from Temagami",
"Upper Canada people"
] | Ignace Tonené (1840 or 1841 – 15 March 1916), also known as Nias or by his Ojibwe name Maiagizis (), was a Teme-Augama Anishnabai chief, fur trader, and gold prospector in Upper Canada. He was a prominent employee of the Hudson's Bay Company.
Tonené was the elected deputy chief before being the lead chief and later the life chief of his community. In his role as deputy, he negotiated with the Canadian federal government and the Ontario provincial government, advocating for his community to receive annual financial support from both. His attempts to secure land reserves for his community were thwarted by the Ontario premier Oliver Mowat.
Tonené's prospecting triggered a 1906 gold rush and the creation of Kerr Addison Mines Ltd., although one of his claims was stolen from him by white Canadian prospectors.
Tonené died in 1916 at the age of 74 or 75. He is buried near Mount Kanasuta in Quebec.
## Early life
Maiagizis was most commonly known by his English name Ignace Tonené, often shortened to Nias. He was born in 1840 or 1841 near Lake Temagami in the Temagami First Nation in Upper Canada. He was the eldest son of François Kabimigwune and Marian and grandson of Temagami chief White Bear (Wabimakwa). His brother was Frank White Bear (died 1930).
## Career and community leadership
Tonené worked for the Hudson's Bay Company from 1857, delivering mail between its trading posts at Lake Timiskaming and Lake Temagami. He also worked at Fort Témiscamingue where he likely learned French.
### Leadership
Around 1889, Tonené was elected as deputy chief (anike ogima) taking over the role from his father. In 1877, Tonené filed a land claim concerning the Temagami region with the Parry Sound federal Indian Agent. In 1878, Tonené took over as head chief. He oversaw the adoption of potato farming and cattle raising. As chief, Tonené was noted for his principles, advocating to the community that debts must be paid, including to the Hudson's Bay Company. Unlike other First Nations surrounding Lake Huron, Tonené's community was not a party to the Robinson Treaties. The treaties were two 1850 formal agreements between Ojibwa chiefs and the Crown in which chiefs relinquished land in exchange for immediate and ongoing financial payments. Tonené advocated for redress and support for his people. Tonené was concerned about the impact of lumberjacks and their impact on the natural resources of the area. He advocated to federal Indian agent Charles Skene for the provision of an annuity payment and the creation of reserve.
During a speech in January 1889, Tonené warned his community: "The white men were coming closer and closer every year and the deer and furs were becoming scarcer and scarcer ... so that in a few years more Indians could not live by hunting alone." He continued to press the government for federal financial support and the creation of a reserve through a series of meetings and letters written in Anishinaabe, which resulted in an acknowledgment from Indian agent Deputy Superintendent Lawrence Vankoughnet in 1880 that approximately 2,800 square miles (7,300 km<sup>2</sup>) of Temagami land were indeed unceded. Initially Canadian Prime Minister John A. Macdonald deferred the matter to the Ontario Premier, but in 1883 the Department of Indian Affairs agreed to an annual payment to the nation. The prices were comparable to the amounts received by other First Nations who were parties to Robinson Huron Treaty. In 1884, Tonené convened a tribal council on Bear Island to discuss the potential location for the reserve; the community agreed it should be about 100 square miles (260 km<sup>2</sup>) surrounding Cross Lake and at the south end of Lake Temagami. The federal government agreed to the proposal, but the Ontario Premier Oliver Mowat, who had a reputation for hostility towards to Indigenous treaty rights, blocked the land transfer, primarily concerned about the value of the red and white pine lumber at the location. It was not until 1943 that lands were finally set aside for the Temagami and the official creation of the Bear Island Reserve not occur until 1971.
In 1889, after Oliver Mowat's refusal to create the reserve and as his chiefdom ended, Tonené moved his family to land between Lake Opasatica and Lake Dasserat near Abitibi, Quebec. In 1889, he travelled to Bear Island to meet Indian agent Thomas Walton and ask for seeds and farming equipment for his community. Tonené hunted and trapped to feed his family, and in 1903 starting prospecting, motivated by the recent silver discovery at Cobalt, Ontario. His successful finds of gold instigated the Larder Lake gold rush of 1906, according to the Canadian Mining Journal. The gold that he discovered at McGarry later became the Kerr-Addison mine, and he staked at least one claim there which was subsequently stolen from him by white settlers. The Tonene Old Indian Mining Company issued a prospectus just prior to the start of World War I, but sources do not indicate if Tonené benefited from the company.
Tonené was succeeded as head chief by John Paul, though Tonené continued to hunt and trap in Abitibi country. Following the 1893 death of John Paul, Tonené once again became head chief, and from 1910 he was the honorary or life chief and the primary advisor to the new head chief, his younger brother Frank White Bear.
## Personal life
In 1860, Tonené married Angèle, the daughter of former Temagami band chief Nebenegwune. They had two sons and two daughters, and Angèle died in childbirth in 1869. In 1871, Tonené married Elisabeth Pikossekat of Timiskaming band and they had three daughters.
Both of Tonené's sons died before adulthood, although his five daughters all lived into adulthood, married, and had children.
## Death and legacy
Tonené died on 15 March 1916, near Lake Abitibi, Quebec. He was buried close to Mount Kanasuta, Quebec, near the Quebec–Ontario border. The location of his burial was later turned into a gravel pit and then a community dump.
In 2016, Tournene Lake, south of Bear Lake and north of Larder Lake, was officially renamed Chief Tonene Lake. | [
"## Early life",
"## Career and community leadership",
"### Leadership",
"## Personal life",
"## Death and legacy"
] | 1,407 | 41,921 |
37,475,104 | The Landlady (novella) | 1,145,147,163 | Novella by Fyodor Dostoyevsky | [
"1847 Russian novels",
"Novellas by Fyodor Dostoevsky",
"Works originally published in Otechestvennye Zapiski"
] | The Landlady (Russian: Хозяйка, Khozayka) is a novella by Russian author Fyodor Dostoevsky, written in 1847. Set in Saint Petersburg, it tells of an abstracted young man, Vasily Mikhailovich Ordynov, and his obsessive love for Katerina, the wife of a dismal husband whom Ordynov perceives as a malignant fortune-teller or mystic. The story has echoes of Russian folklore and may contain autobiographical references. In its time The Landlady had a mixed reception, more recently being seen as perhaps unique in Dostoevsky's oeuvre. The first part of the novella was published in October 1847 in Notes of the Fatherland, the second part in November that year.
## Plot
After the reclusive and bookish scholar Vasily Ordynov is compelled to leave his apartment he wanders aimlessly through Saint Petersburg, contemplating his despair over a loveless life, his childhood and his future. Through this distraction he finds himself within a church, where he notices an old man, Ilia Murin, with his young wife, Katerina. His fascination for the couple, particularly Katerina, causes him to contrive further encounters, with the intention of securing a lodging at their home. He becomes their house guest. The gloomy Murin is a perceived Old Believer, with powers of clairvoyance that have perturbed his neighbours and the local police, and which appear to control his wife. Katerina implies that Murin was her mother's lover, that she might be Murin's biological daughter, and that the pair ran-off together after he killed her father. There is an unresolved suggestion that Murin caused the death of Katerina's fiancé during their escape.
Ordynov develops a passion for Katerina, which she reciprocates after nursing him through delirium. While in delirium Ordynov, in dream or reality, spies on Murin who has taken to his bed through illness and is recounting tales to Katerina – he rushes into Murin's room; Murin's attempt to shoot Ordynov with a gun, misses. Ordynov tries to convince Katerina of her need to detach herself from Murin physically and psychologically, and believes he has overcome her reluctance to do so when he hears her sing a song of love and freedom. Katerina offers wine to Ordynov and Murin as she considers her choice. Murin uses the language of prediction and psychology to show any choice as futile, as Katerina is predestined by her sex to be a captive of a master and her own grief. Ordynov now fully believes that Murin is a sorcerer and that Katerina is his slave, as she herself believes. Using Murin's argument, he offers to buy Katerina, to effect her liberation. Murin indicates a veiled threat that the price would be bloodshed for both buyer and goods. Fearing a lost cause, Ordynov intends to kill Murin, but fails as a knife falls from his hand and as Katerina falls at her husband's feet.
Murin afterwards explains to the police that both Katerina and Ordynov are weak and would hand back freedom if it were given; that she needs the control of a master, and he couldn't kill a stronger man even with the means to do so.
## Background
In October 1846 Dostoevsky wrote to his brother Mikhail that his short story Mr. Prokharchin was well-received, and that he was continuing to work on Saved Sidewhiskers for Vissarion Belinsky. The idea for The Landlady already existed at that point, and three days later he again wrote to Mikhail saying that the proposed Saved Sidewhiskers would be shelved as he wanted to introduce a new style, and that "more original, lively and bright thoughts were asking to be put on paper". He later pointed out the favourable similarities between the progress of The Landlady and that of his first novel, Poor Folk.
On 26 November 1846 Dostoevsky announced that he had ended his affiliation with Nekrasov and Panaev's journal The Contemporary, to join Andrey Krayevsky's Notes of the Fatherland. He also ended his association with Belinsky's literary circle after a dispute in early 1846 – subsequently Belinsky left Notes of the Fatherland to write for The Contemporary. Krayevsky published most of Dostoevsky's pre-prison stories in 1846, except A Novel in Nine Letters, issued in The Contemporary, and Polzunkov, printed in The Illustrated Almanach. In early 1847 Dostoevsky noted in a letter to his brother that work on The Landlady had begun – on 9 September 1847 it was finalized. According to Dostoevsky's wishes the first part was published in October and the second part the following month.
## Themes and style
According to Neuhäuser, The Landlady incorporates themes found in artistic fairy tales, which, unlike typical folk tales, are written by a particular person, and not collected from hearsay. According to Professor S. Gibian, The Landlady is a "recreation of folktale diction and imagery" and "its plot is based on the three folklore motifs, man–woman dominance, the incestuous father–daughter relationship, and Volga outlaw tales."
The abstracted chief protagonist, Ordynov, is a prototype of future characters that would appear in "White Nights" and Netochka Nezvanova. C. E. Passage felt that the work was influenced by Gogol's Taras Bulba and A Terrible Vengeance, Odoevsky's Improvizator, Hoffmann's Die Elixiere des Teufels, Der Magnetiseur, Der unheimliche Gast, Der Sandmann and Der Artushof. In Dostoevsky: The Adapter, Passage argues that the "truth of the matter is that Dostoevsky was again compounding story elements as in the case of The Double."
Alfred Bem postulates in Dramatizatsiia breda that The Landlady incorporates autobiographical elements. Influenced by Freud's psychoanalysis, he argued that Ordynov's familial relationship with Katerina and Murin was similar to Dostoevsky's own, and found reflections of the writer's affair with Avdotya Panayeva, whom he met within her husband's political circle. Bem states that tiring quarrels between circle members Nikolay Nekrasov and Ivan Turgenev worsened Dostoevsky's health, which was already unstable due to stress. Elements of Gothic literature were also detected in the story's dark atmosphere, and the strange character of the relationship between Katerina and Ordynov. Valery Kirpotin believes that the novella discusses good and evil. The critic Stanisław Mackiewicz felt that he had found the key to understanding its symbolic content and the reason for Belinsky's animosity: "I am of the belief that the young person represents the Russian intelligence, and the woman with the expressive name 'The Landlady' the Russian folk, while the haunted fortuneteller echoes the religious beliefs of that folk and especially the schismatic Old Believers."
Sophie Ollivier says that the novella tries to "penetrate into the essence of the historical consciousness of the Russian people, of the Russian faith". Robert Mann believes that Murin is based on the Prophet Elijah, and that Ordynov has a similar religiosity to several literary characters in the 1860s and 1870s. Murin could also be a precursor of The Grand Inquisitor from The Brothers Karamazov.
## Reception
The Landlady received mixed reception. Dostoevsky was criticized for plagiarizing other works, specifically E.T.A. Hoffmann's Erscheinungen. Vissarion Belinsky called the novella "terrible rubbish" and further commented that he "had tried to reconcile Marlinsky to Hoffmann, adding a bit of humour after the latest fashion, and covering the whole with a thick veneer of "narodnost" [Russian cultural tradition]." Belinsky saw the work as resembling the stories of Tit Kosmokratov (Vladimir Titov), that it has "not a single simple and lively word or phrase" and that "everything is affected, strained, on stilts, artificial and false." Recent reception has been more positive than Dostoevsky's contemporary. Kenneth A. Lantz stated that it is "unique among Dostoyevsky's works in its extreme melodrama, eeriness and general obscurity." | [
"## Plot",
"## Background",
"## Themes and style",
"## Reception"
] | 1,844 | 27,499 |
54,146,905 | Tropical Storm Warren (1984) | 1,171,925,807 | Pacific severe tropical storm in 1984 | [
"1984 Pacific typhoon season",
"1984 in the Philippines",
"Tropical cyclones in 1984",
"Typhoons in the Philippines",
"Western Pacific severe tropical storms"
] | Severe Tropical Storm Warren, known in the Philippines as Tropical Storm Reming, affected the Philippines during October 1984. An area of convection was first observed on October 17 in the Philippine Sea. After killing 17 while crossing the archipelago, the system developed into a tropical storm on October 23. Warren moved north and later north-northwest but late on October 24, the storm began to meander in the South China Sea. On October 26, Warren drifted west while attaining peak strength. Two days later, Warren turned back to the east-northeast and away from the Philippines. A weakened trend began on October 29 as the storm entertained cooler, drier air. Despite this, the storm's center of circulation remained well-defined until Warren moved ashore in Vietnam on November 1. Warren dissipated the next day.
Offshore the Philippines, the vessel Venus sunk due to rough seas caused by the storm. As a result of the shipwreck, 29 people were killed. a total of 174 were rescued, including 96 people that were rescued via a fishing boat. Nearby, another cargo container ship, the Lorcon 8, sank but all 19 crewmen were rescued. Across the island chain, 73 people died, 25 due to landslides, while 18 others were injured. Greater than 10,000 people were directly affected by the typhoon. Moreover, 740 houses were destroyed, with an additional 891 damaged. Damage was estimated at \$239,000 (1984 USD), with \$59,000 from crops and \$180,000 from infrastructure.
## Meteorological history
The precursor of Tropical Storm Warren was first noted on October 17 as a poorly organized area of convection over 550 km (340 mi) northeast of Mindanao Island. Initially, synoptic data suggested that the storm's circulation was broad, ill-defined, and positioned over the monsoon trough. The disturbance began to encounter lower wind shear, prompting a small increase in organization. At 15:00 UTC on October 18, a Tropical Cyclone Formation Alert (TCFA) was issued. The alert was cancelled less than 24 hours later, however, in response to a decrease in the storm's convection, as well as, strong wind shear and its close proximity to land. Over the next few days, the system moved over the Philippines, disrupting its surface circulation. Moving west-southwest, the disturbance entered the South China Sea on October 22. Despite initially remaining poorly organized, conditions aloft became much more conducive for development that evening, and aided by the monsoonal flow, the system developed a well-defined surface circulation. At 00:00 UTC on October 23, both the Joint Typhoon Warning Center (JTWC) and the Japan Meteorological Agency (JMA) started tracking the system. The aforementioned circulation was at first exposed from the deep convection, but by 03:00 UTC on October 23, the storm had rapidly become better organized. Following a further increase in the system's organization, a second TCFA was issued at 11:30 UTC. Based on a Dvorak estimate of T2.5, the JTWC upgrade the system into a tropical depression at 18:00 UTC, although post-season analysis from the agency suggests that the cyclone was a tropical storm by this time. Early on October 24, the JMA followed suit and upgraded Warren into a tropical storm. Also around this time, the Philippine Atmospheric, Geophysical and Astronomical Services Administration (PAGASA) started tracking the storm and assigned it with the local name Reming.
Initially, Tropical Storm Warren drifted north and then north-northwest. Later on October 24, the center once again became partially exposed from the deep convection. Thereafter, Warren began to move erratically. Early on October 25, the JMA classified Warren as a severe tropical storm. After performing a small cyclonic loop, Warren, still embedded in the monsoon trough, began to drift westward, while a mid-latitude cyclone was located to the cyclone's north. Later that day, Warren existed PAGASA's area of responsibility. At 06:00 UTC on October 26, the JTWC designated Warren a typhoon while increasing the intensity of Warren to 120 km/h (75 mph), its maximum intensity. Meanwhile, the JMA estimates that Warren peaked in intensity, with winds of 115 km/h (70 mph) and a minimum barometric pressure of 980 mbar (29 inHg), an intensity it would remain at for several days. Starting midday on October 26, Warren stalled out for the next 12 hours, only to drift east-northeast in response to the inflow to Typhoon Vanessa and a trough to its north. On October 28, after re-entering PASAGA's warning responsibility, Warren slowed and made a cyclonic turn back to the east-northeast as the trough moved to the east of Warren and a subtropical ridge became center to the north of the cyclone.
By October 29, Warren began to expand in size in response to a monsoonal surge of moisture into the South China Sea. This also caused the storm to inherit cooler, drier air, which prompted weakening while also recurving towards the northeast. At 00:00 UTC on October 29, the JTWC downgraded Warren into a tropical storm, though the JMA would not follow suit until 36 hours later. On August 30, the storm exited PASAGA's warning zone. Thunderstorm activity continued to decrease, and by October 31, the low-level center had become displaced to the convection and the upper-level center. At 06:00 UTC that day, the JTWC issued the final warning on the cyclone while it was still producing winds of 55 km/h (35 mph). Despite this, the storm's center remained well-defined for an additional 24 hours. The remnants of the storm later crossed the coast of Vietnam, with winds of 55 to 65 km/h (35 to 40 mph). Late on November 1, the circulation had become less defined and increasingly difficult to locate, and the JTWC estimated that Warren dissipated the next day. During the afternoon of November 2, the JMA ceased tracking Warren.
## Impact
The precursor disturbance to Warren drenched the nations in heavy rains that led to the deaths of 17. As a result of Warren's turn to the west on October 28, the storm posed a serious threat to the Philippines. All U.S. Navy and Air Force bases in the region were placed in "Condition of Readiness I" early that day. Although no major damage ultimately occurred on the naval bases, winds of 45 km/h (27 mph) and 222 mm (8.74 in) of rain were recorded at Clark Air Base. In the province of Bataan, 30 houses were destroyed, which led to 200 people without a home. A family of 13 died after their house was buried in a landslide in Aurora. Elsewhere, twelve other people died due landslides.
Offshore Marinduque Island, strong waves generated by the storm sunk a 745 t (745,000 kg) vessel, Venus, within three minutes. Officially, the ship consisted of 83 passengers and 42 crewmen when it left Laoang for Samar Island, even though the captain claimed that there were as many as 240 aboard. Later reports indicates that vessel had 200 passengers and 42 crewman on board. A total of 174 were rescued, including 96 people that were rescued via a fishing boat and many others that was rescued by fishermen. Twenty-nine people, including two children, drowned due to the incident. Nearby, a cargo container ship, the Lorcon 8, sank, but all 19 crewmen were rescued. Nationwide, 73 people perished, with 18 others hurt. A total of 10,815 people or 1,914 families were directly affected by the typhoon. Furthermore, 740 houses were destroyed, with an additional 891 damaged. Damage was estimated at \$239,000, with \$59,000 from crops and \$180,000 from both public and private infrastructure.
## See also
- Typhoon Wayne (1986) | [
"## Meteorological history",
"## Impact",
"## See also"
] | 1,722 | 23,067 |
45,493,429 | Home Made Mince Pie | 1,167,796,793 | null | [
"1910 comedy films",
"1910 films",
"1910 lost films",
"1910s American films",
"American black-and-white films",
"American comedy short films",
"American silent short films",
"Lost American comedy films",
"Silent American comedy films",
"Thanhouser Company films"
] | Home Made Mince Pie is a 1910 American silent short comedy produced by the Thanhouser Company. The film is a comedy of circumstances, in which the Gale family is going to host a dinner. The focus of the humor is in a mince pie that brandy is added to in an attempt to make it more appreciable, but three people each add brandy to the pie. Everyone becomes tipsy upon eating the pie, including the family cat, and the film concludes. No cast or staff credits for this film are known. The film was released on September 27, 1910, to mixed reviews in trade publications. Reviewers mentioned that the film was too long and it was unbelievable that one pie split eight ways would be able to impact everyone. The film is presumed lost.
## Plot
Though the film is presumed lost, a synopsis survives in The Moving Picture World from September 24, 1910. It states: "Life in a country town is often tedious and tiresome, and were it not for the little dinners and teas the townsfolk are constantly given, existence in some localities would be a very dreary thing indeed. So the time honored get-togethers of the small town are an established feature to the social calendar; they are just as much a matter of necessity and as such have come to stay. The Gales thought well of this established feature. They made it a joyous occasion for themselves as well as their guests. They were hardly an overly wealthy family, and their table was never notable for an oversupply of the good things of life, but whenever they gave a dinner they cast all thoughts of economy to the country winds and worked to the one end that their guests have a pleasant time."
"On the night before such an event neither Mamma, Pappa, or Daughter Gale could get those minutes' solid sleep for thought that they might have overlooked some essential in the guests' comfort. At the first crow of the rooster they would come hopping down to the kitchen to get the larder into shape. So little wonder that on occasion of the dinner here pictured - when the prize dish was a splendid homemade mince pie - the Gales were ever looking after the need of the said pie. First Mamma Gale would tiptoe to the table whereupon it sat in solemn state, and give it a stir; then Pappa Gale would tiptoe over and give it a stir; finally Daughter Gale would have to come over and honor it likewise. Then arrived the guests. The Minister and the Mrs. Minister, they were, and some neighbors. While she was receiving them the recollection came to Mamma Gale that the beloved mince pie had not received its flavoring. Off she speeds to a decanter of whiskey in the kitchen. She pours into the pie the right proportion of liquor, and goes back to her guests. Then Pappa Gale remembers that the pie has not been flavored. He, too, excuses himself and a moment later is found pouring whiskey into the sacred mince. No sooner has he ceased and returned to his guest than Daughter Gale, who has just remembered about the forgotten flavoring, rushes in and makes for the whiskey. She pours 'the right proportion' in, too."
## Production
The writer of the scenario is unknown, but it was most likely Lloyd Lonergan. He was an experienced newspaperman employed by The New York Evening World while writing scripts for the Thanhouser productions. The film director is unknown, but it may have been Barry O'Neil. Film historian Q. David Bowers does not attribute a cameraman for this production, but at least two possible candidates exist. Blair Smith was the first cameraman of the Thanhouser company, but he was soon joined by Carl Louis Gregory who had years of experience as a still and motion picture photographer. The role of the cameraman was uncredited in 1910 productions. The cast credits are unknown, but many 1910 Thanhouser productions are fragmentary. In late 1910, the Thanhouser company released a list of the important personalities in their films. The list includes G.W. Abbe, Justus D. Barnes, Frank H. Crane, Irene Crane, Marie Eline, Violet Heming, Martin J. Faust, Thomas Fortune, George Middleton, Grace Moore, John W. Noble, Anna Rosemond, Mrs. George Walters. A surviving film still gives the possibility of identifying eight actors.
## Release and reception
The single reel comedy, approximately 1,000 feet long, was released on September 27, 1910. The film likely had a wide national release, with advertisements in theaters known in Indiana, Kansas, Wisconsin, and Pennsylvania. The film would also be shown in Vancouver, British Columbia, Canada and was met with praise by the audience at the Province Theatre. In 1917, years after the film's release, the film was approved without censorship by the Pennsylvania State Board of Censors of Moving Pictures.
The Moving Picture World reviewer found the subject to be too long, but did not find it to be a fault. The reviewer states, "A domestic comedy with a different flavor. In fact, with a mince pie for a basis the flavor comes to resemble brandy very strongly by the time that the cook, the maid and the mistress of the house and her daughter have added the proper proportion of flavoring, neither one knowing that the others have done likewise. The humor in this piece centers around this pie. What happened to the guests who partook of it certainly draws upon the imagination. Imagine eight people, not to speak of the cat, getting drunk on the brandy in one mince pie! ... We do not single out this subject as being more evidently padded than others shown on the screen this week. Licensed as well as Independents were guilty and it is time that the manufacturers realize the importance of the scenario end of matters. The mince pie episode was well done, which is the faint praise that we do not like to mete out to anyone." Walton of The Moving Picture News was not amused by the plot and stated, "To me the last scene had no humor. It was only the necessary ending to the beginning. True humor does not emanate from cognac." The New York Dramatic Mirror stated, "This is the old story of too many cooks, and it is quite funny after the first scenes are out of the way. The early part of the film takes too much time with trivial details leading up to the final situation. ... A weak point in the story is the fact that the pie is cut into eight small pieces, making it difficult to believe in its remarkable power. Two pies would have been as easy to make as one and would have been more convincing. The character parts are all well taken, although the cook would have been better if she had not seized so many opportunities to talk directly at the camera."
## See also
- List of American films of 1910 | [
"## Plot",
"## Production",
"## Release and reception",
"## See also"
] | 1,426 | 8,017 |
2,435,984 | SMS Elbing | 1,167,580,113 | Light cruiser of the German Imperial Navy | [
"1914 ships",
"Maritime incidents in 1916",
"Pillau-class cruisers",
"Ships built by Schichau",
"Ships built in Danzig",
"Ships sunk at the Battle of Jutland",
"World War I cruisers of Germany"
] | SMS Elbing was a light cruiser ordered by the Imperial Russian navy under the name Admiral Nevelskoy from the Schichau-Werke shipyard in Danzig in 1913. Following the outbreak of World War I, the ship was confiscated in August 1914 and launched on 21 November 1914 as SMS Elbing. She had one sister ship, Pillau, the lead ship of their class. The ship was commissioned into the High Seas Fleet in September 1915. She was armed with a main battery of eight 15 cm SK L/45 guns and had a top speed of 27.5 kn (50.9 km/h; 31.6 mph).
Elbing participated in only two major operations during her career. The first, the bombardment of Yarmouth and Lowestoft, occurred in April 1916; there, she briefly engaged the British Harwich Force. A month later, she took part in the Battle of Jutland, where she scored the first hit of the engagement. She was heavily engaged in the confused fighting on the night of 31 May – 1 June, and shortly after midnight she was accidentally rammed by the battleship Posen, which tore a hole in the ship's hull. Flooding disabled the ship's engines and electrical generators, rendering her immobilized and without power. At around 02:00, a German torpedo boat took off most of her crew, and an hour later the remaining men scuttled the ship; they escaped in the ship's cutter and were later picked up by a Dutch steamer.
## Design
Elbing was 135.3 meters (444 ft) long overall and had a beam of 13.6 m (45 ft) and a draft of 5.98 m (19.6 ft) forward. She displaced 5,252 t (5,169 long tons) at full load. Her propulsion system consisted of two sets of Marine steam turbines driving two 3.5-meter (11 ft) propellers. They were designed to give 30,000 shaft horsepower (22,000 kW). These were powered by six coal-fired Yarrow water-tube boilers, and four oil-fired Yarrow boilers. These gave the ship a top speed of 27.5 knots (50.9 km/h; 31.6 mph). Elbing carried 620 t (610 long tons) of coal, and an additional 580 t (570 long tons) of oil that gave her a range of approximately 4,300 nautical miles (8,000 km; 4,900 mi) at 12 knots (22 km/h; 14 mph). Elbing had a standard crew of twenty-one officers and 421 enlisted men, though this was expanded in wartime.
The ship was armed with eight 15 cm (5.9 in) SK L/45 guns in single pedestal mounts. Two were placed side by side forward on the forecastle, four were located amidships, two on either side, and two were side by side aft. She also carried four 5.2 cm (2 in) SK L/55 anti-aircraft guns, though these were replaced with a pair of two 8.8 cm (3.5 in) SK L/45 anti-aircraft guns. She was also equipped with a pair of 50 cm (19.7 in) torpedo tubes mounted on the deck. She could also carry 120 mines. The conning tower had 75 mm (3 in) thick sides, and the deck was covered with up to 80 mm (3.1 in) thick armor plate.
## Service history
Elbing was ordered by the Imperial Russian Navy as Admiral Nevelskoy from the Schichau-Werke shipyard in Danzig. She was laid down in 1913, requisitioned by the German Navy on 5 August 1914, and was renamed Elbing. She was launched on 21 November 1914, after which fitting-out work commenced. She was commissioned into the High Seas Fleet on 4 September 1915.
After her commissioning, Elbing was assigned to II Scouting Group, which typically operated alongside the battlecruisers of I Scouting Group. Her first major operation was the bombardment of Yarmouth and Lowestoft on 24–25 April. On the approach to Lowestoft, Elbing and Rostock spotted the Harwich Force, a squadron of three light cruisers and eighteen destroyers, approaching the German formation from the south at 04:50. Rear Admiral Friedrich Boedicker, the German commander, initially ordered his battlecruisers to continue with the bombardment, while Elbing and the other five light cruisers concentrated to engage the Harwich Force. At around 05:30, the British and German light forces clashed, firing mostly at long range. The battlecruisers arrived on the scene at 05:47, prompting the British squadron to retreat at high speed. A light cruiser and destroyer were damaged before Boedicker broke off the engagement after receiving reports of submarines in the area.
### Battle of Jutland
In May 1916, Admiral Reinhard Scheer, the fleet commander, planned to lure a portion of the British fleet away from its bases and destroy it with the entire High Seas Fleet. Elbing remained in II Scouting Group, attached to I Scouting Group, for the operation. The squadron left the Jade roadstead at 02:00 on 31 May, bound for the waters of the Skagerrak. The main body of the fleet followed an hour and a half later. At 15:00, lookouts on Elbing spotted the Danish steamer N. J. Fjord; Elbing detached a pair of torpedo boats to investigate the steamer. Two British cruisers, HMS Galatea and Phaeton, were simultaneously steaming to inspect the steamer, and upon spotting the German torpedo boats, opened fire shortly before 15:30. Elbing turned to support the destroyers, opening fire at 15:32. She quickly scored the first hit of the battle, on Galatea, though the shell failed to explode. The British turned to the north back toward the 1st Battlecruiser Squadron, with Elbing still firing at long range. She was joined by Frankfurt and Pillau, but the three cruisers had to cease fire by 16:17, as the British had drawn out of range. About fifteen minutes later, the three cruisers engaged a seaplane launched by the seaplane tender HMS Engadine. They failed to score any hits, but the aircraft was forced off after which its engine broke down and it was forced to land. The three cruisers then returned to their stations ahead of the German battlecruisers.
At around 18:30, Elbing and the rest of II Scouting Group encountered the cruiser HMS Chester; they opened fire and scored several hits on the ship. As both sides' cruisers disengaged, Rear Admiral Horace Hood's three battlecruisers intervened. His flagship HMS Invincible scored a hit on Wiesbaden that exploded in her engine room and disabled the ship. Elbing and Frankfurt each fired a torpedo at the British battlecruisers, though both missed. Elbing was briefly engaged by the battlecruisers at very long range, though she was not hit. At around 20:15, Elbing lost her port engine due to leaks in her boiler condensers. This limited her speed to 20 kn (37 km/h; 23 mph) for the next four hours.
II Scouting Group, along with the battlecruisers Seydlitz and Moltke had been ordered to take station ahead of the German line for its night cruising formation. Elbing was still having problems with her boiler condensers, and was unable to keep up the speed necessary to reach the front of the line, and so she fell in with IV Scouting Group. At 23:15, Elbing and Hamburg spotted the British cruiser Castor and several destroyers. They used the British recognition signal and closed to 1,100 yards (1,000 m) before turning on their searchlights and opening fire. Castor was hit seven times and set on fire, forcing the British to turn away. As they did, they fired several torpedoes at Elbing and Hamburg. One passed underneath Elbing but failed to explode. While this engagement was still on-going, the 2nd Light Cruiser Squadron arrived and engaged IV Scouting Group. Elbing was hit once, which destroyed her wireless transmitting station and killed four men and wounded twelve.
Shortly after midnight, the German fleet ran into the British rear destroyer screen. Elbing was by this time steaming on the port side of the German line along with Hamburg and Rostock. The dreadnought Westfalen—the first ship in the German line—opened fire first, followed quickly by Elbing, the other two cruisers, and the battleships Nassau and Rheinland. The British destroyers launched a torpedo attack, which forced the three cruisers to turn to starboard to avoid them. This pointed the cruisers directly at the German line. Elbing attempted to steam between Nassau and Posen, but Posen's captain wasn't aware of the movement until it was too late to avoid a collision. Posen turned hard to starboard, but still collided with Elbing's starboard quarter. The cruiser was holed below the waterline, which flooded the starboard engine room first. She initially took on a list of eighteen degrees, which allowed water to spread to the port engine room. With the engines shut down, steam began to condense in the pipes, which disabled the electric generators and caused the ship to lose electrical power. As water spread throughout the ship's engine compartments, the list was reduced. The ship was completely immobilized, though she was not in danger of sinking.
At 02:00, the torpedo boat S53 came alongside and took off 477 officers and men of Elbing's crew. Her commander and a small group of officers and men remained on board. They rigged an improvised sail in an attempt to bring the ship closer to shore, but at around 03:00, British destroyers were spotted to the south and the order to scuttle the ship was given. They then lowered the ship's cutter into the water and set off; while steaming back to port, they rescued the surgeon from the destroyer HMS Tipperary. At around 07:00, a Dutch trawler met the cutter and took the men to Holland. In the course of the Battle of Jutland, Elbing had fired 230 rounds of 15 cm ammunition and a single torpedo. Four of her crew were killed and twelve more were wounded. | [
"## Design",
"## Service history",
"### Battle of Jutland"
] | 2,238 | 11,181 |
35,729,649 | End of Watch | 1,173,634,519 | 2012 film by David Ayer | [
"2010s American films",
"2010s English-language films",
"2010s buddy cop films",
"2010s gang films",
"2012 action thriller films",
"2012 crime drama films",
"2012 crime thriller films",
"2012 films",
"2012 independent films",
"American action thriller films",
"American buddy cop films",
"American crime drama films",
"American crime thriller films",
"American gang films",
"American independent films",
"Exclusive Media films",
"Films about Mexican drug cartels",
"Films about the Los Angeles Police Department",
"Films directed by David Ayer",
"Films produced by David Ayer",
"Films produced by John Lesher (producer)",
"Films scored by David Sardy",
"Films set in 2011",
"Films set in Los Angeles",
"Films shot in Los Angeles",
"Films with screenplays by David Ayer",
"Found footage films",
"Hood films",
"MoviePass Films films",
"Open Road Films films",
"StudioCanal films"
] | End of Watch is a 2012 American action thriller film written and directed by David Ayer. It stars Jake Gyllenhaal and Michael Peña as Brian Taylor and Mike Zavala, two Los Angeles Police Department officers who work in South Central Los Angeles. The film focuses on their day-to-day police work, their dealings with a certain group of gang members, their friendship with each other, and their personal relationships.
Ayer, who had written several police procedural films previously, wanted the film to focus more on the friendship between partners and daily police work and subordinate the contextual elements of the drug trafficking story taking place on the streets of south-central LA. Gyllenhaal, Peña, and other cast members underwent an intensive training program to prepare for their roles as police officers. Filming took place in Los Angeles in August 2011 with a budget of \$7 million.
End of Watch premiered on September 8, 2012, at the Toronto International Film Festival and was released in American theaters on September 21, grossing over \$57 million at the box office. The film received a number of accolades, including two Independent Spirit Award nominations.
As of 2022, a series adaptation of End of Watch is being developed by Fox Entertainment.
## Plot
Los Angeles Police Department officers Brian Taylor and Mike Zavala are close friends and partners in the high crime area of South Central in the Newton Division of the LAPD. Taylor, a Marine Corps veteran, records their activities for a college class after they return to duty from a recent officer-involved shooting.
Upon responding to a public disturbance call, Tre, a Bloods gang member, yells racial insults at Zavala, who responds by accepting a one-on-one fist fight. Zavala wins and earns Tre's respect for not charging him with assault. Later that night, Tre and his fellow Bloods are attacked in a drive-by shooting by the Mexican-American Curbside Gang. The following night, the officers respond to a noise complaint at a house party where Taylor and Zavala encounter Curbside Gang members "Big Evil" and "LaLa". Taylor and Zavala rescue children from a house fire while on patrol and are awarded the Medal of Valor.
During a traffic stop, they arrest a man who is in possession of several ornate firearms and large amounts of cash. Taylor urges Zavala to join him in investigating further, leading them to another man guarding a home full of human trafficking victims. When ICE agents intervene, the officers learn that the house is tied to the Sinaloa Cartel and are strongly urged to stay clear due to possible reprisals. Taylor soon becomes engaged to his girlfriend Janet and Zavala's wife Gabby gives birth to their first child.
One night, Taylor and Zavala respond to a call from their rookie fellow officer, Sook, and find her partner Van Hauser has been stabbed through the eye. They find and rescue Sook, who was being savagely beaten nearby. Taylor marries Janet, and at their wedding Zavala tells Taylor that, should anything happen to him, he will take care of Janet. The next day, the officers perform a wellness check on an elderly woman. In her house, they discover large amounts of heroin, dismembered corpses, and a message from the cartel. Unbeknownst to them, ICE has eavesdropped on a phone call from the cartel in Mexico and hears the two officers have been "green-lit"; Big Evil, LaLa, and others are tasked with killing them.
While on patrol the officers encounter Tre who as a favor from their earlier encounter warns them that some friends who were recently released from Folsom prison learned that both officers were green-lit, but Taylor and Zavala shrug it off. Taylor reveals to Zavala that Janet is pregnant. They are baited into chasing a reckless driver into an apartment complex where they are ambushed by the Curbside Gang. They fight their way into an alley where Taylor is shot in the chest. As Zavala desperately attends to his partner, the assassins arrive and shoot him several times in the back. Police backup eventually arrives, and the gangsters are killed after refusing to surrender.
Taylor survives, having been shielded by Zavala's body. At Zavala's funeral, Taylor tries to deliver a eulogy, but only manages to say a few words. In a flashback to the day of the shooting, Zavala recounts to Taylor a humorous story from the first time he and his wife slept together, before the two receive a call from dispatch.
## Cast
### Police
- Jake Gyllenhaal as Officer Brian Taylor
- Michael Peña as Officer Miguel 'Mike Z' Zavala
- David Harbour as Officer Van Hauser
- Frank Grillo as Sergeant Daniels
- Jaime FitzSimons as Captain Reese
- America Ferrera as Officer Orozco
- Cody Horn as Officer Davis
- Kristy Wu as Officer Sook
### Family
- Natalie Martinez as Gabby Zavala
- Anna Kendrick as Janet Taylor
### Criminals
- Cle Shaheed Sloan as 'Tre'
- Shondrella Avery as 'Bonita'
- Maurice Compte as 'Big Evil'
- Richard Cabral as 'Demon'
- Diamonique as 'Wicked'
- Flakiss as 'La-La'
## Production
David Ayer, who wrote and directed End of Watch, grew up in South Central Los Angeles and has had numerous friends in the LAPD. He had written several films previously about police officers in Los Angeles, but while these depicted rogue and corrupt officers, he wanted to feature honest, ethical police work in End of Watch. In contrast to his previous works, Ayer wanted to focus on the friendship between Taylor and Zavala and "have all the cop stuff drop away and become secondary to the chemistry of these guys". Ayer wrote the screenplay over six days in December 2010. Jaime FitzSimons, a longtime friend of Ayer and a former police officer with the LAPD, served as the film's technical advisor, and his experiences from working in Los Angeles inspired several plot points of the film.
Jake Gyllenhaal was the first to be cast in the film; after receiving the script, he read it in an hour and immediately contacted Ayer. Michael Peña was cast shortly after, following a string of auditions. He and Gyllenhaal did not bond immediately but gradually became close friends over the process of training and filming. Gyllenhaal and Peña undertook five months of intensive training under the guidance of FitzSimons to prepare for their roles—this included 12-hour ride-alongs with multiple Greater Los Angeles Area law enforcement agencies up to three times a week, as well as training in hand-to-hand combat, police tactics and weapons. On his first ride-along, Gyllenhaal witnessed a murder during a drug bust. Tactical training was also given to the other actors playing police officers, including David Harbour, America Ferrera, Cody Horn, and Frank Grillo.
End of Watch was filmed on location in South Central Los Angeles, primarily in the area of the LAPD's Newton Division, one of the most violent and gang-affiliated areas of the city. Filming took place over 22 days in August 2011, with a budget of \$7.5 million. The film was shot in a combination of found footage style and traditional photography. Most scenes were captured by four cameras simultaneously: these included a handheld camera operated by Gyllenhaal, cameras clipped to Gyllenhaal and Peña's vests, and dashboard footage from their patrol car. Some scenes were shot entirely by Gyllenhaal. An alternate ending of the film was shot where both of the main characters died, but Ayer ultimately chose to retain the original ending.
## Release
The world premiere of End of Watch was held on September 8, 2012, at the Toronto International Film Festival. It was originally scheduled to be released theatrically on September 28, 2012, but the release was later moved to September 21.
### Home media
End of Watch was released on DVD and Blu-ray on January 22, 2013, by Universal Studios Home Entertainment.
## Reception
### Box office
End of Watch grossed \$41 million in North America and \$16.6 million in other territories for a total gross of \$57.6 million, against its budget of \$7 million.
In its opening weekend in the United States, the film grossed \$13.1 million, finishing first at the box office. It was especially popular among Hispanics, who made up 32% of the audience on the opening weekend, and a writer for The Hollywood Reporter attributed the film's popularity to strong word of mouth. The film was initially released in 2,730 theaters and expanded to 2,780 locations in its second week of release. On December 7, the film was given a nationwide re-release in 1,259 theaters shortly after it received two Independent Spirit Award nominations. On the first weekend of its re-release, it grossed \$752,000.
### Critical response
On review aggregator Rotten Tomatoes the film has an 85% approval rating based on 181 reviews, with an average rating of 7.20/10. The website's consensus states: "End of Watch has the energy, devotion to characters, and charismatic performances to overcome the familiar pitfalls of its genre and handheld format." On Metacritic, the film has a score of 68 out of 100, based on reviews from 37 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.
Roger Ebert of the Chicago Sun-Times gave the film 4 out of 4 stars, calling it "one of the best police movies in recent years, a virtuoso fusion of performances and often startling action", and went on to name the film the fourth best of 2012. Film critic James Berardinelli described End of Watch as "satisfying and emotionally potent ... a good, gritty drama of the sort that seems increasingly rare within the thriller genre", giving the film 3.5 out of 4 stars. Olly Richards, writing for Empire, gave the film 4 out of 5 stars and summarized it as "a collection of cop-movie clichés but presented with sufficient flair and strong performances that the ride is enough, even if it's on rails". While New York's Bilge Ebiri found the film largely unrealistic and Ayer's direction "serviceable at best", he wrote that "Ayer and his cast appear to have so convincingly nailed the way these characters talk and act that you might not even notice the film slipping from workaday grit into out-and-out myth."
Critics praised End of Watch for its avoidance of clichés often used in police films, particularly the buddy cop genre. Peter Debruge of Variety wrote that "Like a knife in the eye, End of Watch cuts past the cliches of standard police procedurals" and praised Ayer for depicting the LAPD as "an honorable and efficient organization of people working together". Entertainment Weekly's Lisa Schwarzbaum, who gave the film an A−, described it as "one of the best American cop movies I've seen in a long time [and] also one of the few I've seen that pay serious attention to what cop life feels like, both on and off duty". In a review for The Globe and Mail, however, Rick Groen opined that the focus on "saintly" police officers was less interesting than Ayer's "trademark grit and authenticity".
The performances of Peña and Gyllenhaal were also praised by critics. Peter Debruge commended the realism that the two actors brought to their roles, saying, "Gyllenhaal and Peña so completely reinvent themselves in-character. Instead of wearing the roles like costumes or uniforms, they let the job seep into their skin." The Los Angeles Times's Betsy Sharkey applauded the chemistry between the two lead actors, as well as their individual performances, writing, "As good as Gyllenhaal is in this, Peña nearly steals the show." In a review for USA Today, Claudia Puig commended Gyllenhaal for "giv[ing] his best performance since Brokeback Mountain" and Peña for "shin[ing] with charisma". Roger Ebert highlighted End of Watch as "one of the performances of [Peña's] career" and praised the performances given by the supporting cast, including Natalie Martinez and Anna Kendrick.
An aspect of the film criticized in numerous reviews was its handheld camerawork and cinematography. Richard Corliss wrote for Time that the found footage style of cinematography "borders on the ludicrous" and that "the tactic fatally substitutes photo realism for fauxto realism". Similarly, The Washington Post's Michael O'Sullivan found the aesthetic gimmicky, overused, and "an unnecessary distraction from the story". On the other hand, Amy Biancolli of the San Francisco Chronicle felt that although the cinematography was inconsistent, "it's used to deepen its main characters" and "lends the film a lively intimacy".
Other reviewers criticized the casting of minorities as gang members. Manohla Dargis of The New York Times pointed out that "almost all of [the crimes are] committed by the black and mainly brown people", while The Globe and Mail's Rick Groen criticized "the script's penchant for over demonizing the ghetto's black residents".
### Accolades | [
"## Plot",
"## Cast",
"### Police",
"### Family",
"### Criminals",
"## Production",
"## Release",
"### Home media",
"## Reception",
"### Box office",
"### Critical response",
"### Accolades"
] | 2,820 | 21,795 |
2,248,196 | M-39 (Michigan highway) | 1,166,816,100 | State highway in Michigan, United States | [
"Freeways and expressways in Michigan",
"State highways in Michigan",
"Transportation in Oakland County, Michigan",
"Transportation in Wayne County, Michigan"
] | M-39 is a 16-mile-long (26 km) north–south state trunkline highway in Metro Detroit area of the US state of Michigan that runs from Lincoln Park, on the south end, to Southfield on the north. The official southern terminus of M-39 is at the corner of Southfield Road and Lafayette Boulevard in Lincoln Park, one block southeast of the junction of Interstate 75 (I-75, Fisher Freeway) and two blocks northwest of M-85 (Fort Street). From there the highway heads northward. The first 2.3 miles (3.7 km) of the highway follows Southfield Road, a divided highway in the Downriver area. It then transitions into the Southfield Freeway, which is a 13.7-mile-long (22.0 km) freeway that runs from I-94 in Allen Park north through Dearborn, and then the west side of Detroit, to Southfield. The northern terminus is at M-10 (Lodge Freeway) in Southfield.
The current M-39 is the third highway to bear the designation. The first dated back to the origins of the state highway system in 1919 and ran between Grand Rapids and Lansing. This highway was replaced in segments through the 1920s and 1930s by realignments or extensions of other highways in the area. The second was part of Schaefer Highway in the Detroit area from 1939 until the end of the 1950s. The current highway was commissioned when the M-39 designation was moved to Southfield Road from Schaefer Highway. During the 1960s, it was converted into a freeway in stages. Afterwards, it was extended to end at M-85 (Fort Street) before a change in the 1980s gave the trunkline its present termini.
## Route description
M-39 begins at Lafayette Boulevard a block east of its junction with I-75 in Lincoln Park along Southfield Road, which continues east-southeasterly past the start of the M-39 designation under local maintenance. From there the road is a six-lane boulevard through residential areas as it runs west-northwesterly to pass under I-75 and an adjacent Conrail Shared Assets Operations rail line. In Allen Park, the highway continues through residential and commercial areas. Southfield Road crosses lines of the Canadian National Railway and Norfolk Southern Railway near the location where the highway turns to the northeast and transitions into a six-lane limited-access freeway. Immediately after this transition, the Southfield Freeway, as M-39 is now called, has an interchange with I-94. There is a second, adjacent interchange that connects to Van Born Road, and the freeway winds its way northeasterly through Dearborn. The freeway is bordered by service drives that carry one-way traffic and bear the Southfield Road name on either side. M-39 meets Outer Drive next to the Fairlane Green power center. The adjoining properties are residential to the west and commercial to the east. Near Greenfield Village, the freeway curves to the northwest around the Ford Proving Grounds before turning to the north, a direction it will maintain until the end of its run. The freeway crosses the River Rouge, passes under the line used by the Amtrak Wolverine, and meets US Highway 12 (US 12, Michigan Avenue) next to the Fairlane Town Center and Ford Motor Company's world headquarters in Dearborn near the campus of the University of Michigan–Dearborn.
North of the interchange for M-153, (Ford Road), M-39 crosses into Detroit. From there the road continues through the densely populated areas of the west side of the city. Next to the Chicago Road overpass, the freeway runs under a CSX Transportation rail line. The trunkline continues traveling to the north through a series of interchanges. The first is a partial interchange for Plymouth Road; northbound traffic exiting here is directed to use the service drive northbound to access Schoolcraft Road, and traffic can enter M-39 southbound. Next is the stack interchange with I-96 (Jeffries Freeway) with access to both the local and express lanes of that freeway. The last of the series is another partial interchange with Schoolcraft Road. As a counterpart to the Plymouth Road interchange, this one provides access from southbound M-39 to the cross street with a signed connection along the southbound service drive to Plymouth Road and an entry point for northbound traffic. Continuing north, M-39 comes to an interchange with M-5 (Grand River Avenue) which also connects to Fenkell Avenue, the 5 Mile Road equivalent on Detroit's mile road system.
There are three more interchanges along M-39 in Detroit as the freeway continues through the residential upper west side. Near the Wayne Community College District, the freeway meets McNichols Road (6 Mile). There is another interchange approximately one mile (1.6 km) north at 7 Mile Road as well. The road then crosses the border between Wayne and Oakland counties to enter Southfield at the interchange with M-102 (8 Mile Road). The Southfield Freeway, and M-39, terminates at an interchange with M-10 (John C. Lodge Freeway) near 9 Mile Road. Southfield Road continues northward from the end of the freeway under local maintenance.
M-39 is maintained by the Michigan Department of Transportation (MDOT) like other state highways in Michigan. As a part of these maintenance responsibilities, the department tracks the volume of traffic that uses the roadways under its jurisdiction. These volumes are expressed using a metric called annual average daily traffic, which is a statistical calculation of the average daily number of vehicles on a segment of roadway. MDOT's surveys in 2010 showed that the highest traffic levels along M-39 were the 159,400 vehicles daily between Schoolcraft Road and Grand River Avenue in Detroit; the lowest counts were the 20,400 vehicles per day between the I-94 and Van Born Road interchanges. All of M-39, and Southfield Road on either end that is not under state maintenance, has been listed on the National Highway System, a network of roads important to the country's economy, defense, and mobility.
## History
### Previous designations
Two previous highways bore the M-39 designation. When the state highway system was first signed in 1919, the number was assigned to a highway that ran between Grand Rapids and Lansing. The westernmost end in Kent County near Alto was replaced by a realigned M-16. Within the next few years, the western end was scaled back further to the Woodbury area when M-50 was extended, with the remainder replaced by an extended M-43 around 1938.
The next trunkline to be designated M-39 was Schaefer Highway in 1939, running north–south from US 25/M-17 (at the five-way intersection of Schaefer, Oakwood Boulevard, and Francis Street) in Melvindale to US 16 (Grand River Avenue) in western Detroit. Since M-39 was moved to Southfield Road in the end of the 1950s, Schaefer Highway has been a locally maintained road.
### Current designation
M-39 was reassigned to Southfield Road, which parallels Schaefer Highway two miles (3.2 km) to the west, connecting I-94 with Northwestern Highway in 1958-59. By 1961, the freeway was marked as under construction on maps. The first section opened in December 1961 was 2.7 miles (4.3 km) from Ford Road north to Chicago Road. The remainder of the freeway between I-94 and the Lodge Freeway and 9 Mile Road was opened by the middle of 1964 at a total cost of \$40 million. The highway designation was extended southeasterly along Southfield Road to the new I-75 freeway and a terminus at M-85 (Fort Street) in 1966. In 1987, the M-39 designation was truncated slightly so that the trunkline no longer officially connects to M-85.
## Exit list
## See also | [
"## Route description",
"## History",
"### Previous designations",
"### Current designation",
"## Exit list",
"## See also"
] | 1,686 | 30,200 |
41,292,559 | Zrinski Battalion | 1,161,764,338 | null | [
"1991 establishments in Croatia",
"Military history of Croatia",
"Military units and formations disestablished in 1994",
"Military units and formations established in 1991",
"Military units and formations of the Croatian War of Independence",
"Special forces"
] | The Zrinski Battalion (Croatian: Bojna Zrinski) was a special forces unit of the Croatian National Guard (Zbor narodne garde – ZNG) and later of the Croatian Army (Hrvatska vojska – HV) established in Kumrovec on 18 May 1991, during the Croatian War of Independence. The unit drew personnel from the special police forces and a former French Foreign Legion troops serving as its core. The battalion was set up and initially commanded by Ante Roso, while Major Miljenko Filipović took over as the commanding officer in August.
The Zrinski Battalion trained volunteer troops in Vukovar in June 1991 before it saw action in Hrvatska Kostajnica, the Battle of Gospić and near Slano in 1991. By the end of 1991, the unit's personnel were tasked with setting up an additional special forces unit of the HV. The next year its elements took part in the Battle of Kupres and Operation Tiger aimed at lifting the Siege of Dubrovnik. It also and helped develop and train the Croatian Defence Council (Hrvatsko vijeće obrane – HVO), setting up a training camp in Tomislavgrad. In 1993, the battalion took part in Operation Maslenica. In February 1994, the Zrinski Battalion was amalgamated with several other HV special forces units into the 1st Croatian Guards Brigade (1. hrvatski gardijski zdrug), a component of the 1st Croatian Guards Corps (1. hrvatski gardijski zbor).
## Background
In 1990, following the electoral defeat of the government of the Socialist Republic of Croatia, ethnic tensions between Croats and Croatian Serbs worsened. The Yugoslav People's Army (Jugoslavenska narodna armija – JNA) believed Croatia would use the Croatian Territorial Defence Force's (Teritorijalna obrana – TO) equipment to build its own army and confront the JNA itself. In order to minimize the expected resistance, the JNA confiscated the TO weapons. On 17 August, the tensions escalated into an open revolt of the Croatian Serbs.
In the beginning of 1991, Croatia had no regular army. In an effort to bolster its defence, Croatia doubled the size of its police force to about 20,000. The most effective part of the force was the 3,000-strong special police that were deployed in 12 battalions, adopting military organisation. In addition there were 9,000–10,000 regionally organised reserve police. The reserve police were set up in 16 battalions and 10 companies, but they lacked weapons needed to arm many of the troops.
Preparations to set up the Croatian National Guard (Zbor narodne garde – ZNG) began on 12 April 1991. Establishment of the ZNG as a police force with military capabilities was thought necessary by the Croatian authorities following armed clashes in Pakrac and at Plitvice Lakes in March and due to the possibility of further confrontation with the JNA. The ZNG, formally established on 23 April, was tasked with protection of the constitutional order, maintenance of public order, anti-terrorist operations, protection of Croatia's borders, territory, coast and territorial waters, as well as the protection of high-value structures and high-profile persons.
## Service
On 18 May 1991, the Zrinski Battalion was established as a special forces unit of the ZNG. The core of the unit consisted of 27 volunteers drawn from the Kumrovec Special Police Unit (SPU). Initially, it relied on former French Foreign Legion troops. The most senior among the former legionnaires was Ante Roso, previously a Sous-Officier (non-commissioned officer – NCO) in the 4th Foreign Regiment. In consequence, Roso was tasked with setting up the unit as its initial commander. Major Miljenko Filipović, likewise a former French Foreign Legion member, was assigned the battalions deputy commander. The unit was based in the village of Kumrovec in the region of Hrvatsko Zagorje, on the grounds of the former "Josip Broz Tito" political school. The site, adjacent to the border of Slovenia, was selected to be inaccessible to Yugoslav Air Force raids without violation of Slovene or possibly Austrian airspace. In June 1991, the Kumrovec SPU was transferred to Sljeme Peak north of Zagreb leaving Kumrovec base to the Zrinski Battalion, as well as the second special forces unit, the Frankopan Battalion.
The Zrinski Battalion was deployed for the first time on 15 June. It was stationed in Vukovar, tasked with preparation of city defences and organisation of volunteer troops. In August, Filipović took over command of the battalion from Roso. The same month, the Zrinski Battalion was deployed to the Banovina, where it pushed the Croatian Serb forces out of the town of Hrvatska Kostajnica. In September, the battalion was deployed to Gospić, where it took part in battle to control Gospić against the JNA. Troops assigned to the battalion captured Kaniža barracks in Gospić. During combat in Gospić, 30 troops of the Zrinski Battalion, assisted by Lučko SPU, captured JNA Major General Trajče Krstevski, along with three armoured personnel carriers (APCs) and 32 soldiers. The unit was deployed to Metković on 28 October, tasked with recapturing Slano from the JNA. After the deployment to Gospić, a part of the unit personnel left to Bosnia and Herzegovina anticipating further conflict there, while the remainder of the unit returned to Kumrovec. The ZNG was renamed the Croatian Army (Hrvatska vojska – HV) on 3 November 1991. In late 1991, personnel of the Zrinski Battalion set up another special forces unit of the HV — the Matija Vlačić Battalion based in Opatija.
In 1992, elements of the Zrinski Battalion took part in the Battle of Kupres, before setting up a training camp in the town of Tomislavgrad. There the battalion personnel assisted in setting up and trained the Croatian Defence Council (Hrvatsko vijeće obrane – HVO). Later that year, elements of the battalion took part in Operation Tiger—aimed at lifting of the Siege of Dubrovnik. In 1993, elements of the Zrinski Battalion took part in Operation Maslenica, fighting in the area of Škabrnja. The Central Intelligence Agency assessed the Zrinski Battalion as one of the best units of the HV.
## Amalgamation
On 25 February 1994, the Zrinski Battalion was amalgamated with parts of other special forces units of the HV: Frankopan Battalion, Ban Jelačić Battalion, Matija Vlačić Battalion, Ferdo Sučić Battalion and part of 8th Light Assault Brigade forming the 1st Croatian Guards Brigade (1. hrvatski gardijski zdrug), a component of the 1st Croatian Guards Corps (1. hrvatski gardijski zbor), directly subordinated to the Ministry of Defence rather than the General Staff of the Armed Forces of the Republic of Croatia. | [
"## Background",
"## Service",
"## Amalgamation"
] | 1,588 | 12,301 |
18,507,235 | St. Peter's Church (Queenstown, Maryland) | 1,055,164,526 | Historic church near Queenstown, Maryland, United States | [
"1827 establishments in Maryland",
"19th-century Roman Catholic church buildings in the United States",
"Churches in Queen Anne's County, Maryland",
"Churches in the Roman Catholic Diocese of Wilmington in Maryland",
"Churches on the National Register of Historic Places in Maryland",
"Gothic Revival church buildings in Maryland",
"National Register of Historic Places in Queen Anne's County, Maryland",
"Roman Catholic churches completed in 1827",
"Roman Catholic churches completed in 1877"
] | St. Peter's Church, also known as the Church of St. Peter the Apostle, is a nearly 200-years-old Roman Catholic church located in Maryland's Eastern Shore near Queenstown. It is a prominent landmark along U.S. Route 50 in Maryland, which is part of the main route from Washington and Baltimore to Atlantic beach resort towns in Maryland and Delaware.
Catholics came to Kent Island around 1639, and moved to what became the Queenstown area shortly afterwards. They originally practiced their religion discreetly in their homes. The parish of St. Peter's was established in 1765, and the original chapel was constructed some time in the next 20 years. This was the third permanent mission on Maryland's Eastern Shore. Construction of the present church began in 1823 and was completed in 1827. The building was expanded in 1877 after fundraisers were unable to raise enough money to build a completely new building in town. A portion of the church's exterior shell is the only part remaining from the 1827 structure.
The church, which is built in the Victorian-Gothic style, has a steep roof and rose windows, and is located very near to the road. The interior is mostly the same as it was in the 1877 Victorian construction period, and contains all of the stained glass and altar furniture from that period. The church was placed in the National Register of Historic Places on March 10, 1980.
## Geography and setting
St. Peter's Church is located 1.5 miles (2.4 km) south of Queenstown, Maryland. The region is part of a large peninsula that separates the Chesapeake Bay from the Atlantic Ocean. The peninsula, which contains the entire state of Delaware and the eastern shores of Maryland and Virginia, is often called the Delmarva Peninsula. Nearby Kent Island is the location of the first permanent European settlement in what is now Maryland, and it was established in 1631. The church is positioned a few steps from the road on the north side of U.S. Route 50. Although the immediate area around the church is rural, Route 50 can have considerable traffic during the summer as travelers from the Baltimore–Washington metropolitan area use the road to get to Atlantic coast summer resort destinations such as Maryland's Ocean City and several beaches in Delaware.
Although Catholicism was the dominant religion for Spanish and French possessions in the colonial Americas, Catholics were "an insignificant minority in a state of practical outlawry" in the 13 English colonies. Prior to the American Revolution, Catholic church and school buildings in the English American colonies were prohibited except in Pennsylvania. The Maryland colony was unique in English colonization because of its attempt to have Catholics and Protestants live together as equals. This attempt had some significant failures.
Catholics arrived at Maryland's Eastern Shore on Kent Island around 1639. They are thought to have moved from Kent Island to what became Queenstown during the 1640s, possibly during a conflict between Lord Baltimore (a Catholic) and William Claiborne (a Protestant) over control of the island. During this time, the region around Queenstown north to Piney Point and south to the area along the Wye River (including communities that became Morgan's Neck and Wye Neck) became populated mostly by Roman Catholic land owners. Continuing to practice their religion discreetly, Catholic families in the area typically used a room in their house as a chapel room.
## Establishment of St. Peter's
The parish of St. Peter's was established in 1765. The chapel, which was constructed some time before 1784, was the third permanent mission on Maryland's Eastern Shore. In 1765, Reverend Joseph Mosley was pastor at nearby St. Joseph's (the second permanent mission) in Talbot County and ministered to five regular mission stations in the area in addition to St. Joseph's. Over time, he came to do more work in Queen Anne's County, and Queenstown became his "chief congregation". He was succeeded by Father John Bolton in 1787.
## Construction
In 1760, Edward Neale of Bowlingly died, and his will provided for two daughters and other family members. It also left "the sum of 50 pounds" for a Catholic clergyman to purchase land nearby so he "may live convenient to the congregation". Bowlingly was adjacent to the village of Queenstown. Catholic leaders purchased 1.5 acres (0.61 ha) of land from Edward Rogers for the price of 28 pounds. The land was located about 1.5 miles (2.4 km) from Queenstown along the road to Easton and Wye Mills. A surviving baptismal register kept by Mosley shows that the original church was already built in 1784, but no records remain that list the exact year construction was completed. This small structure looked more like a house than a church. In 1819, Archbishop Marechal described this church as “a most miserable old house”, and it was too small for its congregation.
### New church
In the early 1820s, the parrish was again the beneficiary of generous provisions in the wills of its members. These donations enabled Reverend James Moynihan to begin preparations for construction of a new church in 1823. During this time, Moynihan had health issues and was replaced by Reverend Peter Veulemans, who became the first resident priest at St. Peters. The new building was 45 feet long by 30 feet wide, and made of brick. After construction of the new church was completed in 1827, the old structure was converted to a parsonage that lasted until it was demolished in 1960.
### Today's church
By 1868, Bishop Becker of the Diocese of Wilmington described all seven of the Catholic churches in Maryland's Eastern Shore as “old and wretched”. In 1869, Reverend Edward Henchy made plans to build a new church, with a rectory and resident pastor, in downtown Queenstown. Festivals and tournaments were held to raise money. However, fundraising for the new church was not as successful as hoped. In 1877, church leadership decided to expand the current church instead of building an entirely new one in Queenstown. Materials were brought close to the site by boat, and the contractor was John Stack of Baltimore. Costs were \$5,000 () to \$6,000 ().
The expanded version of the church kept some of the brick walls from the 1820s church. An estimated 2,000 people attended a dedication ceremony held on December 23, 1877. This church is basically the church that stands today. A brick sacristy and meeting room were added to the northeast side during the 1960s.
### Renovations and additions
For the next 100 years, the church received various upgrades and improvements. During the 1930s, the cemetery was leveled, restored, and seeded with grass. During the 1930s and 1940s, Reverend Francis J. Fisher was responsible for replacing a cast iron stove with an oil burning furnace and electrifying the church.
During the 1950s the State Roads Commission made plans to widen U.S. Route 50 and condemned the church to be torn down. An appeal saved the church when it was agreed that the church would build a brick wall between the road and the church. Members of the Friel family were involved with the wall's funding and design. They were also later involved with extensions of the wall along the sides of the church.
By 1959, it was decided that the old rectory was a fire hazard and would be torn down. Two additions on the site of the old rectory were completed in 1967: a sacristy and a meeting room. The children of Helena Green Raskob provided funding for the meeting room, and it was named the Raskob Memorial Room in her honor. Members of the Friel family were involved with the new sacristy. The designers of the additions were James R. Friel and architect John Walton. During the 1970s, the church was refurbished and air conditioning was added.
## Description
`Henchy is credited as the designer of the 1877 church. The 1820s church was changed from a rectangle to a cruciform by adding a nave on one side of the original structure and projecting an apse on the other. The interior ceiling was raised to be about double its original height. Various local families helped with renovations by providing either labor or transportation of materials. The rose windows were donated by Nannie Willson and designed by Katie Bordley.`
### Church exterior
The church building is made of brick and uses portions of the 1820s church exterior walls. The most noticeable exterior features are the steep slate roofs; large rose windows in the east, north, and west gables; a Victorian bell cupola on the south side closest to the road; and Victorian-Gothic vergeboards on the projecting gables of the roof. In a newspaper article describing the dedication ceremony, it was mentioned that the "exquisitely toned bell" could be heard 1.5 miles (2.4 km) away in Queenstown.
### Church interior
The church interior, using the cruciform plan, has a nave, a transept, and an apse. One enters the nave from a small vestibule (also known as a narthex) on the south side. A central aisle, with pews on each side, runs through the nave, ending at the walnut communion rail. A gallery supported by chamfered pillars is located at the back of the nave. The transept is what remains from the 1820s church. At each end of the transept is a rose window with two windows below it—all containing original stained glass. The apse is octagonal and contains the altar. A newspaper article describing discussing the dedication ceremony described the altar as "variegated marble, chiseled into quaint and beautiful designs". The door to the left of the altar leads to a small confessional, while the door to the right leads to the sacristy constructed in the 1960s. Much of the interior woodwork is from the 1877 expansion. Several pews in the gallery are from the 1820s church. The paneled wainscoting was added during a 1927 centennial celebration, and is made to look similar to the 1877 gallery railing. All stained glass and altar furniture is from 1877.
### Cemetery
Over 300 people are buried at St. Peter's Cemetery. Not all burial sites are marked by tombstones, but they are listed in parish records. The oldest grave is for Joseph King, who died in 1820. His gravestone is located close to a tall boxwood shrub. Reverend Henchy, who died in 1895, is also buried in the cemetery. His gravestone says "Pastor of the church for 20 years".
## Current use
The St. Peter's Church in Queenstown is one of two churches that are part of the same parish. The other church, Our Mother of Sorrows, is located less than 10 miles away in Centreville, Maryland. The parish has about 620 families. It has a wide range of ministries, including religious education and hospitality programs. Mass times at St. Peter's are 5:30 pm on Saturdays and 7:30 am on Sundays. In 2019, the church received donations that enabled it to begin refurbishing the structure's windows, and more work is expected to be done on the building's exterior.
## National Register of Historic Places
The National Register of Historic Places Inventory Nomination Form for the church was prepared on April 28, 1978. The form's statement of significance begins with "St. Peter's Church has played an important role in the history the Roman Catholic Church in Maryland. A Catholic community was established in this area soon after Claiborne founded his colony on Kent Island in 1631, and this group, with the communities in St. Mary's and Charles Counties, formed the earliest enclave of Catholicism in the American colonies." The church was listed in the National Register of Historic Places on March 10, 1980.
## See also
- National Register of Historic Places listings in Queen Anne's County, Maryland | [
"## Geography and setting",
"## Establishment of St. Peter's",
"## Construction",
"### New church",
"### Today's church",
"### Renovations and additions",
"## Description",
"### Church exterior",
"### Church interior",
"### Cemetery",
"## Current use",
"## National Register of Historic Places",
"## See also"
] | 2,555 | 8,327 |
68,976,334 | Grant Morgan (American football) | 1,168,293,818 | American football player (born 1998) | [
"1998 births",
"American football linebackers",
"Arkansas Razorbacks football players",
"Jacksonville Jaguars players",
"Living people",
"People from Greenwood, Arkansas",
"Players of American football from Arkansas"
] | Grant Morgan (born January 23, 1998) is an American football linebacker who is a free agent. He played college football for the Arkansas Razorbacks. Originally a preferred walk-on with the team, he was placed on full scholarship in August 2018. He has since been named to multiple All-America and All-SEC teams, and has served as a team captain for the Razorbacks in 2020 and 2021. He has twice been named a Burlsworth Trophy finalist, and signed a Name, Image and Likeness (NIL) deal with Walk-On's Bistreaux and Bar in August 2021.
## Early life
Grant Morgan, the son of Matt Morgan and Annie Shaw, was born in St. Louis, Missouri, on January 23, 1998. He was a three-year letterwinner at Greenwood High School, where he was rated the No. 22 prospect in Arkansas and the No. 71 inside linebacker in his class by 247Sports and given an overall three-star rating. During his senior year, he was named Defensive Player of the Year by the Arkansas Democrat-Gazette and Player of the Year by the Southwest Times Record. Greenwood made the second round of the AAA football playoffs in Morgan's junior year and won the state championship in his senior year.
Morgan accepted a position as a preferred walk-on at Arkansas on January 18, 2016, one day after his unofficial visit to the campus. He chose Arkansas over his other interests, Arkansas State, Auburn, Central Arkansas, Michigan, Missouri, Nebraska, and Tulsa, though he did not receive offers from any of these schools. Morgan formally enrolled at Arkansas on May 31, 2016.
## College career
After redshirting during the 2016 season, Morgan saw the field for the first time in 2017. He appeared in all twelve of the Razorbacks' games, recording at least one tackle in each, and a season-high eight in the last game of the season against Missouri. On August 26, 2018, Morgan was placed on full scholarship alongside two other Arkansas players. In 2018 and 2019, Morgan again made appearances in every game for Arkansas, totaling 24 and 39 tackles, respectively, over the course of each season. Prior to the 2020 season, Morgan was voted one of four team captains by his teammates under new head coach Sam Pittman, and garnered nationwide recognition by the end of the season. He was named a second-team All-American by the Walter Camp Football Foundation and the American Football Coaches Association, and earned third-team All-America honors from college football analyst Phil Steele. Morgan was also named first-team all-SEC by the Associated Press and SEC head coaches, the first Razorback to be named by both since Martrell Spaight in 2014. On August 12, 2021, Arkansas announced that Morgan had signed a Name, Image and Likeness (NIL) deal with Walk-On's Bistreaux and Bar. As a senior, Morgan helped Arkansas to an 8-4 regular season, and a bid to the 2022 Outback Bowl against Penn State on New Year's Day. The Razorbacks went on to win the game, 24–10, finishing the 2021 season 9–4 and ranked in the Top 25.
In 2020, Morgan was named a finalist for the Burlsworth Trophy – which is given to the best national player who began their college career as a walk-on – alongside Dax Milne and eventual winner Jimmy Morrissey. Morgan was again named a finalist in 2021, alongside Carlton Martial and Stetson Bennett. The trophy ceremony was held at the Crystal Bridges Museum of American Art on December 6, and Morgan was announced as the winner.
## Professional career
Morgan signed with the Jacksonville Jaguars as an undrafted free agent on May 2, 2022. He was waived on August 26 and re-signed to the practice squad. He was released off the practice squad on September 12.
## Personal life
Morgan is the second of seven siblings. He has an older brother – former Arkansas wide receiver Drew Morgan – in addition to four younger sisters and a younger brother. Morgan graduated from the University of Arkansas in 2019 with a Bachelor of Science in kinesiology, and again in 2020 with a Master of Science in operations management. On January 4, 2020, Morgan married his longtime girlfriend, Sydnie, an Arkansas Tech softball player. | [
"## Early life",
"## College career",
"## Professional career",
"## Personal life"
] | 930 | 14,989 |
23,846,147 | Dead Letters (Millennium) | 1,126,891,279 | null | [
"1996 American television episodes",
"Millennium (season 1) episodes"
] | "'Dead Letters" is the third episode of the first season of the American crime-thriller television series Millennium. It premiered on the Fox network on November 8, 1996. The episode was written by Glen Morgan and James Wong, and directed by Thomas J. Wright. "Dead Letters" featured guest appearances by Chris Ellis, Ron Halder and James Morrison.
Millennium Group consultant Frank Black (Lance Henriksen) is sent to evaluate a prospective member of the group, who perform private investigative work and liaise with law enforcement. Meeting this hopeful member, Jim Horn (Morrison), Black is drawn to investigate a serial killer operating in the area; while Horn begins to unravel under the strain of the case.
Several of the cast and crew made their first contributions to the series in "Dead Letters", with Wright, Morgan, Wong and Ellis all returning for future episodes. Production of "Dead Letters" impressed other series regulars—series writer Chip Johannessen praised the script's attention to detail, while producer John Peter Kousaskis called positive attention to its physical and make-up effects.
## Plot
Jordan Black (Brittany Tiplady) is awakened by a nightmare, and is comforted by her father Frank Black (Lance Henriksen). However, Black is soon called to investigate the body of a woman at a dog pound in Portland, Oregon. Black works for the Millennium Group, an organisation which offers private investigation services and consults with law enforcement on certain types of cases. He is asked by Group member Jim Penseyres (Chris Ellis) to help a local detective on the murder case, as he is being considered as prospective member of the Millennium Group. Black believes the murder to be the work of a serial killer, and is convinced there will be a message from him on the bodies.
Black meets up with the detective, Jim Horn (James Morrison), and sees that he is a competent and experienced investigator, although his recent separation from his wife has left him distracted and on edge.
The killer murders another woman, disposing of the body in a post office's dead letter office. Investigating, Black finds a human hair with a message etched into it—"hair today, gone tomorrow"—which he takes as an indication that the murderer is lashing out at a world that he feels has treated him as insignificant. Horn's mental condition seems to deteriorate, and he begins to take the case personally, leading Black to doubt his ability.
A third victim turns up, with another message—"nothing ventured, nothing gained". A lens from the killer's glasses is also recovered. Black organises a press release in an attempt to draw out the killer, taunting his intelligence by including a falsified profile describing him as uneducated. Black and Horn feel this will tempt the killer to show up at the latest victim's memorial service. Horn attacks an innocent man at the service, believing him to be the killer; although a cross found at the memorial with "ventured" etched upon it proves the killer did attend. Surveillance footage of the service yields two leads—a local optician recognizes the suspect as a customer having a glasses lens replaced, and the killer's vehicle is identified.
Black and Horn realize that the killer will have chosen the optician as his next victim, and agree to set another trap with her as the bait. Horn, more and more unhinged throughout the case, begins imagining the killer and his van at every turn. As he and Black wait for the killer to make an attempt on the optician's life, Horn admits that he cannot trust himself to be there, and is told to go home. However, he parks his car on the route towards the trap, feigning a flat tyre. When the killer's van attempts to pass, Horn attacks him, but the police arrive in time to stop him beating the killer to death. The attack renders any evidence found in the van inadmissible in court, although Black tells him enough evidence was found at the killer's home to secure a conviction. Later, Horn asks Black how he can deal with cases like this on a regular basis. Black does not answer, but later comforts his daughter after another bad dream.
## Production
"Dead Letters" is the first episode of Millennium to be written by James Wong and Glen Morgan, who would go on to write another fourteen episodes across the first and second seasons. The episode is also the first not to have been written by series creator Chris Carter, who had penned both of the preceding episodes, "Pilot" and "Gehenna". "Dead Letters" also marked the first time Thomas J. Wright had directed an episode of the series. Wright would go on to direct twenty-six episodes across all three seasons, as well as directing "Millennium", the series' crossover episode with its sister show The X-Files. He had also previously worked with Morgan and Wong on their series Space: Above and Beyond.
The episode marked the second of three appearances by Chris Ellis as Millennium Group member Jim Penseyres; Ellis had previously appeared in "Gehenna", and would reappear in the next episode, "The Judge". Guest star James Morrison, who portrayed the troubled Jim Horn, had also previously appeared as a main character in Morgan and Wong's Space: Above and Beyond, playing Tyrus Cassius McQueen; his character's son in this episode is named TC as a reference to this. Lisa Vultaggio, who played the optician used to bait the killer, had previously worked with Morgan and Wong in The X-Files, appearing in the first season episode "Beyond the Sea".
Producer and writer Chip Johannessen felt that the scene in this episode in which a human hair is discovered with a message inscribed upon it was a "perfect" moment, in that it "told you everything about this guy [the killer] ... but you had no idea what he was or what he was going to do next ... you know what kind of crazy motherfucker would do that, but where he is or what he's going to do next, who knows". The episode's opening nightmare sequence, in which Jordan Black (Brittany Tiplady) is terrified by a clown crawling along the ceiling, was inspired by the childhood nightmares of Morgan and Wong, and left Tiplady suffering from bad dreams herself for several nights after filming. Producer John Peter Kousakis recalls having visited the episode's set late during production, having felt that make-up effects supervisor Toby Lindala had been doing "fabulous" work on the series' prosthetic body parts. Walking on set to find Lindala's recreation of a quartered corpse, Kousakis remarked "we're doing something special here, but we're also doing something really outrageous". Lance Henriksen also found this scene too graphic to film all at once, taking time between shots to compose himself.
## Reception
"Dead Letters" was first broadcast on the Fox Network on November 8, 1996; and earned a Nielsen rating of 8, meaning that roughly 8 percent of all television-equipped households were tuned in to the episode.
"Dead Letters" earned positive reviews from critics. Writing for The A.V. Club, Zack Handlen rated the episode a B+. Handlen felt that the episode is "not art, not yet, but it is deeply personal", and praised the opening dream sequence, describing it as "flat-out Lynchian nightmare territory". However, he noted that the episode's dialogue felt too "flat" and "expository", adding that it serves to draw "attention to themes that were already plastered across the screen in blinding red and black". Bill Gibron, writing for DVD Talk, rated the episode 4 out of 5, describing it as being "one of the more horrifying episodes in Season 1". Gibron added that "seeing Jim Horn go through his mental breakdown gives us insight into where Frank Black is coming from", although he felt that the lack of real insight into the killer's personality let the episode down. 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, describing it as a "gripping and sincere portrait of human ugliness at its most banal". Shearman and Pearson praised guest star James Morrison's acting, noting that he was "the very humanity that the show is crying out for". | [
"## Plot",
"## Production",
"## Reception"
] | 1,725 | 6,494 |
55,924,915 | Ninetieth Minnesota State Senate v. Dayton | 1,054,949,769 | 2017 Minnesota Supreme Court case | [
"2017 in Minnesota",
"2017 in United States case law",
"Governor of Minnesota",
"Minnesota Legislature",
"Minnesota state case law",
"Veto"
] | The Ninetieth Minnesota State Senate v. Dayton, (903 N.W.2d 609), was a 2017 Minnesota Supreme Court case where the Court ruled that Governor Mark Dayton's line item vetoes of appropriations for the Minnesota Senate and Minnesota House of Representatives were a lawful exercise of his authority granted by the Minnesota Constitution. The Court also ruled that since the state legislature had access to other funding to continue operating as a fully functioning and independent branch of government, the governor's vetoes did not effectively abolish the legislature and thereby violate Article III of the state constitution. The Court also ruled that the judicial branch did not have the constitutional authority to order funding without a corresponding budgetary appropriation. The Supreme Court's ruling overturned an earlier ruling by a Ramsey County District Court judge. The case marked the first time in which the Minnesota Supreme Court was asked to resolve a lawsuit brought by one branch of government against another.
## Background
The Minnesota Legislature adjourned its regular session in 2017 on May 22 with a significant amount of unfinished business; it had failed to pass any omnibus spending bills establishing the state's budget for the next two years. Legislative leaders came to an agreement with Governor Mark Dayton to call a special session immediately following the adjournment of the regular session to address this unfinished business. Just before the conclusion of the special session, the legislature passed a series of appropriations bills for the state's budget. After the four-day special session had adjourned on May 26, Dayton allowed the bills to become law, but vetoed line item appropriations funding the legislature.
Dayton issued a letter explaining his vetoes; he sought to avoid a government shutdown while convincing legislative leaders to renegotiate provisions of the budgetary bills. This conflict represented one instance of a lengthy dispute between Dayton, of the Democratic–Farmer–Labor Party (DFL), and the Republican-led Legislature over the scope of the state government. Among the budgetary bills was a bill containing a package of tax cuts totaling \$650 million that Dayton opposed. However, the bill was worded in such a way that if Dayton had vetoed it, the Minnesota Department of Revenue would have been defunded—a situation that he wished to avoid. Legislative leaders refused to negotiate and sued Dayton, arguing that his vetoes had the unconstitutional effect of abolishing the legislature.
## Lower court ruling
In late June, prior to making a final ruling on the case, Ramsey County District Court Chief Judge John Guthmann issued a temporary order that the Legislature continue to be funded at previous levels through October 1. (The Legislature's funding had been set to expire on June 30 with the end of the state's fiscal year.) On July 19, Chief Judge Guthmann ruled that Dayton's vetoes were unconstitutional in that they violated the Minnesota Constitution's Separation of Powers clause by effectively abolishing the legislature. Guthmann indicated that a main reason that Dayton's vetoes were problematic was that he did not actually object to the appropriations themselves; the purpose of the vetoes was to convince legislators to renegotiate other appropriations and policies unrelated to the legislature's funding. Upon news of the ruling, Dayton immediately indicated his intent to appeal the decision.
## Ruling of the Supreme Court
On September 9, the Minnesota Supreme Court made a preliminary ruling that when Dayton vetoed appropriations for the legislature, he did not violate his constitutional authority to make line item vetoes for budgetary appropriations. The Court also ordered the parties into talks with a mediator. It also strongly encouraged the parties to find a political solution to resolve this dispute. The Court did not remand the case back to the lower Ramsey County court, thereby giving it the ability to make a further ruling if the attempts at mediation were unsuccessful.
Both parties met with mediator Rick Solum over the course of two days (September 21 and 22), but he determined that the legislative leaders and Dayton had irreconcilable differences and that their impasse could not be overcome without a further ruling by the Court. Following the impasse, Dayton claimed that legislative leaders had "lied to" Minnesotans and the Supreme Court about the legislature's ability to finance its operations until the start of the upcoming legislative session to begin in February 2018. One week later, the Supreme Court ordered legislative leaders to submit a full report of their current financial situation regarding funding on hand and their ability to continue to function.
On November 16, the Court issued its final ruling and upheld Dayton's vetoes. The Court also stated that the Legislature had access to sufficient funding to continue to exist until the beginning of the next legislative session; consequently, Dayton's actions remained within his constitutional authority. The Court's ruling was issued by a 5–1 majority; Justice Barry Anderson dissented, and Justice David Stras recused himself from the case. Additionally, in the Court's ruling, Chief Justice Lorie Skjerven Gildea stated that the judicial branch had no authority to appropriate funding without a legislative counterpart. The Court declined to take a stance on the matter of whether Dayton's veto of the legislative funding was coercive; the Court determined that the legislature would be able to continue to operate until the next legislative session.
In the majority ruling for the Court, Chief Justice Gildea acknowledged the unprecedented nature of the case saying, "For the first time in Minnesota history, we are asked to resolve a lawsuit brought by one of our coordinate branches of government—the Legislative Branch—against our other coordinate branch of government—the Executive Branch." Since the governor's line item veto power was established in 1876, the case was only the sixth instance of litigation involving the power in Minnesota history and only the third instance in which such litigation reached the Minnesota Supreme Court.
## Reactions to the ruling and aftermath
Governor Mark Dayton applauded the Supreme Court's ruling and cast blame on Republican legislative leaders for initiating the lengthy and expensive legal dispute. The final costs of legal fees borne by Minnesota taxpayers totaled \$768,000. Republican Speaker of the House Kurt Daudt disputed suggestions that the Court’s ruling was a winning proposition for Governor Dayton; he saw the matter as unsettled. Paul Gazelka, the Senate Majority Leader, expressed dismay at the news of the Court’s ruling, saying that the Legislature would be forced to take extreme measures to keep itself funded, and suggested that this put the Legislature and the State of Minnesota in a precarious situation. Daudt said that this unprecedented financial situation put the Senate at risk of defaulting on scheduled debt payments for the Senate’s office building.
Following the Supreme Court ruling, the Minnesota Legislative Coordinating Commission (LCC)—a bipartisan group of leaders from both houses of the Legislature—agreed to provide the Legislature with \$20 million from its carry-over funds and 2019 appropriations to continue regular operations until the beginning of the next regular session. These funds supplemented cash reserves from the House and Senate as well as temporary funding approved by the District Court. After the Legislature reconvened its regular session in 2018, it voted to restore the funding which Dayton had vetoed. On February 26, Dayton signed the bill into law. In addition to reinstating funding for the Legislature, the bill provided for the LCC to have its payments to the Legislature reimbursed. Although Standard & Poor's had "put a 'negative' watch" on the state's otherwise high credit rating while this case proceeded through the courts, the company ultimately upgraded the state's credit rating to AAA in July 2018, after the case and the Legislature's funding uncertainties were resolved.
The Associated Press described the Supreme Court ruling as "a major legal victory" for Dayton, and the ruling definitively established the governor's power to exercise the line item veto power for any purpose. The Legislature prevailed from a policy perspective, however, as none of the changes to tax policy that Dayton sought were legally enacted. The Legislature's session in 2018 was marked by continued discord between the Republican and DFL parties; many of the most significant bills from the session were ultimately vetoed by Dayton, including bills regarding tax reforms and further budgetary appropriations. Pursuant to the results of the 2018 Minnesota elections, Minnesotans elected a new governor from the DFL party and installed a DFL majority in the House of Representatives; the Republican party maintained a narrow majority in the Senate. | [
"## Background",
"## Lower court ruling",
"## Ruling of the Supreme Court",
"## Reactions to the ruling and aftermath"
] | 1,692 | 28,915 |
17,152,567 | SpongeBob SquarePants (season 7) | 1,172,208,736 | Season of television series | [
"2009 American television seasons",
"2010 American television seasons",
"2011 American television seasons",
"SpongeBob SquarePants seasons"
] | The seventh season of the American animated television series SpongeBob SquarePants, created by marine biologist and animator Stephen Hillenburg, originally aired on Nickelodeon in the United States from July 19, 2009, to June 11, 2011. It contained 26 half-hour episodes, with a miniseries titled Legends of Bikini Bottom. The series chronicles the exploits and adventures of the title character and his various friends in the fictional underwater city of Bikini Bottom.
The season was executive produced by series creator Hillenburg and writer Paul Tibbitt, who also acted as the showrunner. In 2011, Legends of Bikini Bottom, an anthology series consisting of episodes from the season, was launched. A number of guest stars appeared on the season's episodes. Several compilation DVDs that contained episodes from the season were released. The SpongeBob SquarePants: Complete Seventh Season DVD was released in Region 1 on December 6, 2011, Region 2 on September 17, 2012, and Region 4 on September 12, 2012.
The series won the 2010 Kids' Choice Awards in the category of Favorite Cartoon. The episode "That Sinking Feeling" was nominated at the 63rd Primetime Emmy Awards for Outstanding Short-format Animated Program. Furthermore, at the 38th Annie Awards, the show won for Best Animated Television Production for Children.
## Production
The season aired on Nickelodeon, which is owned by Viacom, and was produced by United Plankton Pictures and Nickelodeon Animation Studio. The season's executive producers were series creator Stephen Hillenburg and Paul Tibbitt, who also acted as the series' showrunner. On March 13, 2008, during the broadcast of the sixth season, the network renewed the show for a seventh season, with 26 episodes in order. Cyma Zarghami, president of Nickelodeon & MTVN Kids and Family Group, said, "The strength of the Nickelodeon brand comes from how we embrace everything important to kids, and how we are with them virtually everywhere they want us to be. Our open philosophy to give audiences access to everything they love, and our commitment to making relevant and innovative content, have put us at the top of cable, VOD and online. Nickelodeon has strong momentum as a brand and as a business, and we have a great foundation built on great talent and relationships with some of the best creative leaders in our industry."
In a statement, Brown Johnson, president of animation for Nickelodeon, said, "We are thrilled to be making another season of SpongeBob SquarePants–a series we hope to make for a long time." On July 19, 2009, the season premiered with "Tentacle-Vision" and "I Heart Dancing". The former was written by Luke Brookshier, Nate Cash and Derek Iversen, with Alan Smart serving as animation director. "I Heart Dancing" was written by Casey Alexander, Zeus Cervas, Mr. Lawrence, and was directed by Tom Yasumi. "Growth Spout", "Stuck in the Wringer", "Someone's in the Kitchen with Sandy", and "The Inside Job" also premiered on the same day as part of the Ultimate SpongeBob Sponge Bash marathon, that celebrate the series' tenth anniversary including the premiere of ten brand new episodes.
In 2011, Nickelodeon debuted an anthology series, Legends of Bikini Bottom, of six seventh-season episodes in the show. It was released on January 27, 2011, on the online social networking service Facebook before it aired on the cable channel Nickelodeon. "Trenchbillies" was the first episode to air on Facebook and was written by Aaron Springer and Richard Pursel, with Andrew Overtoom serving as animation director. Nickelodeon said on January 27 that SpongeBob SquarePants has more than 16 million "friends" on Facebook. The decision of airing the series online was aimed at attracting "the young and the restless hooked to the internet and the social media." In a press release, Brown Johnson said, "The anthology format of Legends of Bikini Bottom provides a great opportunity to try something new where we can give SpongeBob's 16 million fans on Facebook a first look, in addition to new content on-air". Each episode was available for two weeks on Facebook. The other four called "Sponge-Cano!", "The Main Drain", "The Monster Who Came to Bikini Bottom" and "Welcome to the Bikini Bottom Triangle" premiered on Nickelodeon in an hour-long special on January 28, 2011.
Animation was handled overseas in South Korea at Rough Draft Studios. Animation directors credited with episodes in the seventh season included Andrew Overtoom, Alan Smart, and Tom Yasumi. Episodes were written by a team of writers, which consisted of Casey Alexander, Steven Banks, Luke Brookshier, Nate Cash, Zeus Cervas, Sean Charmatz, Derek Ivesen, Mr. Lawrence, Dani Michaeli, Richard Pursel, and Aaron Springer. The season was storyboarded by Alexander, Brookshier, Cash, Cervas, Charmatz, and Springer.
## Cast
The seventh season featured Tom Kenny as the voice of the title character SpongeBob SquarePants and his pet snail Gary. SpongeBob's best friend, a starfish named Patrick Star, was voiced by Bill Fagerbakke, while Rodger Bumpass played the voice of Squidward Tentacles, an arrogant and ill-tempered octopus. Other members of the cast were Clancy Brown as Mr. Krabs, a miserly crab obsessed with money who is SpongeBob's boss at the Krusty Krab; Mr. Lawrence as Plankton, a small green copepod and Mr. Krabs' business rival; Jill Talley as Karen, Plankton's sentient computer sidekick; Carolyn Lawrence as Sandy Cheeks, a squirrel from Texas; Mary Jo Catlett as Mrs. Puff, SpongeBob's boating school teacher; and Lori Alan as Pearl, a teenage whale who is Mr. Krabs' daughter.
In addition to the regular cast members, episodes feature guest voices from many ranges of professions, including actors, musicians, and artists. For instance, in the episode "Back to the Past", Ernest Borgnine and Tim Conway returned, reprising their respective roles as Mermaid Man and Barnacle Boy. The episode is also guest starred by the original Batman series stars Adam West as the young Mermaid Man and Burt Ward as the young Barnacle Boy. Borgnine and Conway later voiced their recurring roles in the episode "The Bad Guy Club for Villains". Brian Doyle-Murray also reprised his role as the Flying Dutchman for "The Curse of Bikini Bottom". Comedian and actress Laraine Newman voices the character of Plankton's grandma in "Gramma's Secret Recipe". In the anthology series Legends of Bikini Bottom, actresses Amy Sedaris and Ginnifer Goodwin guest star. Sedaris appears in the episode "Trenchbillies" as the voice of Ma Angler. Goodwin also guest stars as the voice of a purple-haired mermaid in the episode "Welcome to the Bikini Bottom Triangle". She lends her voice to a teenage mermaid who steals from others through Bikini Bottom's version of the Bermuda Triangle. In "The Curse of Hex", Saturday Night Live's Kristen Wiig guest stars as the voice of Madame Hagfish. Marion Ross voiced her recurring role as Grandma SquarePants, SpongeBob's grandmother, in "The Abrasive Side".
## Reception
The series has received recognition, including the 2010 Kids' Choice Awards for Favorite Cartoon. The series also won the same category at the succeeding year's Kids' Choice Awards and at the 2010 and 2011 Indonesia Kids' Choice Awards. At the Kids' Choice Awards Mexico 2010 and Kids' Choice Awards Argentina 2011, the show was nominated for Favorite Cartoon, but did not win. The episode "That Sinking Feeling" was nominated at the 63rd Primetime Emmy Awards for Outstanding Short-format Animated Program. Furthermore, at the 38th Annie Awards, the show won for Best Animated Television Production for Children, while the crew members, Jeremy Wakefield, Sage Guyton, Nick Carr and Tuck Tucker, won the Music in a Television Production category. SpongeBob SquarePants also won at the 2011 ASCAP Film and Television Awards for Top Television Series. At the 2010 and 2011 TP de Oro, the series won the Best Children and Youth Program category.
The season received mixed to negative reviews, with certain episodes being panned by critics and audiences alike. In his review of the seventh season for DVD Talk, Ian Jane wrote that the series "is one of those rare animated shows that can be enjoyed equally as much by both adults and children." He described the concept of the show as "utterly ludicrous." He cited the episodes "SpongeBob's Last Stand" and "Tentacle-Vision" as "interesting stand outs," while the episodes "The Inside Job", "Back to the Past", "Gary in Love", and "The Abrasive Side" as "memorable episodes this time around." However, Jane said that the season is not as good as the previous seasons, writing "It's not that this more recent material isn't fun, because it is, but by this point in time storylines are beginning to get a little repetitive and as such, the series doesn't seem quite as fresh and original as it once did." Jane "recommended" the DVD set, writing "This latest collection of episodes is not a high point in the series but it's still decent enough family friendly entertainment, even if it does get too repetitive for its own good."
Josh Rode of DVD Verdict said that the season "has its moments", but is "by far the least consistently funny season of the venerable cartoon." Rode also said that the characters of SpongeBob SquarePants and Patrick Star "have become the least engaging parts of the show, which is a problem since they dominate screen time." He perceived that Patrick "has been dumbed down too far." As for the character of SpongeBob, he criticized his changing voice that has become "more nasal over the years." He described the character "like a happy, fun-loving, not-overly-intelligent sponge," but said that "[He] has entirely lost the naïveté which has long been the basis of his charm."
## Episodes
The episodes are ordered below according to Nickelodeon's packaging order, and not their original production or broadcast order.
## DVD release
The DVD boxset for season seven was released by Paramount Home Entertainment in the United States and Canada in December 2011, six months after the season had completed broadcast on television. The DVD release features bonus materials, including "animated shorts." | [
"## Production",
"## Cast",
"## Reception",
"## Episodes",
"## DVD release"
] | 2,249 | 34,823 |
14,372,682 | Satsuma-class battleship | 1,143,698,725 | Class of Japanese semi-dreadnoughts | [
"Battleship classes",
"Satsuma-class battleships"
] | The Satsuma class (薩摩型戦艦, Satsuma-gata senkan) was a pair of semi-dreadnought battleships built for the Imperial Japanese Navy (IJN) in the first decade of the 20th century. They were the first battleships to be built in Japan and marked a transitional stage between the pre-dreadnought and true dreadnought designs. They saw no combat during World War I, although Satsuma led a squadron that occupied several German colonies in the Pacific Ocean in 1914. Both ships were disarmed and expended as targets in 1922–1924 in accordance with the terms of the Washington Naval Treaty of 1922.
## Background
The Satsuma class was ordered in late 1904 under the 1904 War Naval Supplementary Program during the Russo-Japanese War. Unlike the previous Katori-class pre-dreadnought battleships, they were the first battleships ordered from Japanese shipyards, although the first ship in the class, Satsuma, used many imported components.
They were originally intended to mount a dozen 12-inch (305 mm) gun in four twin and four single-gun turrets, but the combination of a shortage of Japanese-built 12-inch guns and their additional expense caused the ships to be redesigned to carry four 12-inch and twelve 10-inch (254 mm) guns, all in twin-gun turrets. The intended armament of these ships, laid down before HMS Dreadnought, would have made them the first "all big-gun" battleships in the world had they been completed to their original design.
Probably reflecting extensive British technical assistance, the Satsuma-class ships greatly resembled an enlarged version of the British Lord Nelson class with the single-gun amidships intermediate turrets replaced by twin-gun turrets. With their heavy intermediate armament, the ships were considered to be semi-dreadnoughts, a transitional stage between pre-dreadnoughts with their light intermediate armament and dreadnoughts solely equipped with large guns.
## Description
The construction of Aki was delayed since she could not be laid down until the slipway occupied by the armored cruiser Tsukuba was freed by that ship's launching. The IJN took the opportunity provided by the delay to modify the ship to accommodate steam turbines and various other changes that generally increased her size. The changes were great enough that Aki is generally considered a half sister to Satsuma. The crew ranged from 800 to 940 officers and enlisted men.
Satsuma had an overall length of 482 feet (146.9 m), a beam of 83.5 feet (25.5 m), and a normal draft of 27.5 feet (8.4 m). She displaced 19,372 long tons (19,683 t) at normal load. Aki was 492 feet (150 m) long overall, had a beam of 83.6 feet (25.5 m), and the same draft as her half-sister. She displaced 20,100 long tons (20,400 t) at normal load.
### Propulsion
Satsuma was powered by a pair of vertical triple-expansion steam engines, each driving one propeller shaft, using steam generated by 20 Miyabara water-tube boilers using a mixture of coal and fuel oil. The engines were rated at a total of 17,300 indicated horsepower (12,900 kW) and were designed to reach a top speed of 18.25 knots (33.80 km/h; 21.00 mph). During the ship's sea trials she reached 18.95 knots (35.10 km/h; 21.81 mph) from 18,507 ihp (13,801 kW). Satsuma carried a maximum of 2,860 long tons (2,910 t) of coal and 377 long tons (383 t) of oil which allowed her to steam for 9,100 nautical miles (16,900 km; 10,500 mi) at a speed of 10 knots (19 km/h; 12 mph). Unlike her half-sister, she only had two funnels.
Aki was intended use the same type of engines as her sister, but the IJN decided fit her with a pair of Curtiss steam turbine sets after she was launched in 1907. The turbines each powered one propeller shaft using steam from 15 Miyabara boilers. The turbines were rated at a total of 24,000 shaft horsepower (18,000 kW) for a design speed of 20 knots (37 km/h; 23 mph). The ship reached a top speed of 20.25 knots (37.50 km/h; 23.30 mph) during her sea trials from 27,740 shp (20,690 kW). She carried a maximum of 3,000 long tons (3,000 t) of coal and 172 long tons (175 t) of oil gave her the same range as her half sister.
### Armament
The ships were completed with four 45-caliber 12-inch 41st Year Type guns in two gun turrets, one each fore and aft of the superstructure. They fired 850-pound (386 kg) armor-piercing (AP) shells at a muzzle velocity of 2,800 ft/s (850 m/s); this gave a maximum range of 24,000 yards (22,000 m). The intermediate armament was much more numerous than in the preceding Katori class, with six twin-gun turrets equipped with 45-caliber Type 41 10-inch guns, three turrets on each side of the superstructure. The guns had a muzzle velocity of 2,707 ft/s (825 m/s) when firing 500-pound (227 kg) shells.
The other major difference between the two ships was that Aki's secondary armament consisted of eight 45-caliber 6-inch (152 mm) 41st Year Type guns, mounted in casemates in the sides of the hull. The gun fired a 100-pound (45 kg) AP shell at a muzzle velocity of 2,706 ft/s (825 m/s). Satsuma, in contrast, was equipped with a dozen quick-firing (QF) 40-caliber 4.7-inch (120 mm) 41st Year Type guns, mounted in casemates in the sides of the hull. The gun fired a 45-pound (20 kg) shell at a muzzle velocity of 2,150 ft/s (660 m/s).
The ships were also equipped with four (Satsuma) or eight (Aki) 40-caliber QF 12-pounder (3-inch (76 mm)) 12-cwt guns and four 28-caliber QF 12-pounder guns. Both of these guns fired 12.5-pound (5.67 kg) shells with muzzle velocities of 2,300 ft/s (700 m/s) and 1,500 feet per second (450 m/s) respectively. In addition, the battleships were fitted with five submerged 18-inch (457 mm) torpedo tubes, two on each broadside and one in the stern.
### Armor
The waterline main belt of the Satsuma-class vessels consisted of Krupp cemented armor that had a maximum thickness of 9 inches (229 mm) amidships and tapered to a thickness of 4 inches (102 mm) inches at the ends of the ship. A 6-inch (152 mm) strake of armor protected the casemates. The barbettes for the main guns were 7–9.5 inches (180–240 mm) thick. The armor of Satsuma's main gun turrets had a maximum thickness of 8 inches (203 mm) inches and those of Aki were an inch thicker. The deck armor was 2–3 inches (51–76 mm) thick and the conning tower was protected by six inches of armor.
## Ships
## Service
The completion of the British battleship Dreadnought with her all big-gun-armament and steam turbines in 1906 meant that these ships were obsolete even before they were completed. The IJN recognized that fact when it drew up the first iteration of its Eight-Eight Fleet building plan for eight first-class battleships and eight battlecruisers in 1910 and did not include them.
Aki was refitting at Kure and Satsuma was assigned to the 1st Battleship Squadron when World War I began in August 1914. The latter served as Rear Admiral Tatsuo Matsumura's flagship in the Second South Seas Squadron as it seized the German possessions of the Caroline and the Palau Islands in October 1914. Satsuma rejoined the 1st Battleship Squadron in 1915, was refitted at Sasebo Naval Arsenal in 1916 and served with the 1st Squadron for the rest of the war. Aki was also assigned to the 1st Squadron upon the completion of her refit and remained with it until she was transferred to the 2nd Battleship Squadron in 1918.
In the years immediately following the end of the war, the United States, Britain, and Japan all launched huge naval construction programs. All three countries decided that a new naval arms race would be ill-advised, and so convened the Washington Naval Conference to discuss arms limitations, which produced the Washington Naval Treaty, signed in February 1922. Japan was well over the tonnage limits and all of her obsolete predreadnought and semi-dreadnought battleships had to be disposed of by the end of 1924. Both ships were disarmed at Yokosuka in 1922, stricken from the Navy List during 1923 and converted into target ships. Aki was sunk by the battlecruiser Kongō and the battleship Hyūga in Tokyo Bay on 2 September 1924; Satsuma was sunk by the battleships Nagato and Mutsu five days later in the same area. | [
"## Background",
"## Description",
"### Propulsion",
"### Armament",
"### Armor",
"## Ships",
"## Service"
] | 2,074 | 20,876 |
26,049,010 | Fred Waite (politician) | 1,170,861,811 | New Zealand politician (1885–1952) | [
"1885 births",
"1952 deaths",
"20th-century New Zealand farmers",
"20th-century New Zealand historians",
"Members of the New Zealand House of Representatives",
"Members of the New Zealand Legislative Council",
"New Zealand Army officers",
"New Zealand Companions of the Distinguished Service Order",
"New Zealand Companions of the Order of St Michael and St George",
"New Zealand MPs for South Island electorates",
"New Zealand National Party MLCs",
"New Zealand Officers of the Order of the British Empire",
"New Zealand military personnel of World War I",
"New Zealand military personnel of World War II",
"Politicians from Dunedin",
"Reform Party (New Zealand) MPs",
"Unsuccessful candidates in the 1931 New Zealand general election"
] | Fred Waite, CMG, DSO, OBE, VD (21 August 1885 – 29 August 1952) was a New Zealand farmer, historian, politician, and soldier who served in both the First and Second World Wars.
Born in Dunedin, Waite was a farmer at the outbreak of the First World War. He joined the New Zealand Expeditionary Force (NZEF) and served in the Gallipoli Campaign, during which he received the Distinguished Service Order. He was evacuated from Gallipoli due to sickness and repatriated to New Zealand, where he saw out the war as an instructor in NZEF training camps. He wrote a history of New Zealand's military efforts during the Gallipoli Campaign that was published in 1919. He returned to his farm and soon became involved in politics, joining the Reform Party. In 1925 he was elected Member of Parliament for the Clutha electorate, serving two terms. He was appointed to the Legislative Council in 1934. During the Second World War, Waite was overseas commissioner for the National Patriotic Fund Board and was appointed an Officer of the Order of the British Empire for his services in this role. Two years later he was appointed a Companion of the Order of St Michael and St George. He died in 1952 at the age of 67.
## Early life
Waite was born in Dunedin on 21 August 1885, one of eight children of George Waite, a storekeeper, and his wife. After leaving Mornington School, he worked for the regional newspaper, the Otago Daily Times, and for the Otago Witness. He was a typesetter when he married Ada Taylor in 1912 but the following year took up farming near Balclutha. He was interested in the military and was a member of an engineers unit in the Volunteer Force, which was later re-organised into the Territorial Force (TF).
## First World War
Following the outbreak of the First World War in the summer of 1914, Waite volunteered for the New Zealand Expeditionary Force (NZEF) that was being raised for service overseas. He also undertook to send dispatches from the front for his previous employer, the Otago Witness, but this work proved short-lived when he became a censor as part of his military duties. He was posted as a lieutenant in the New Zealand Engineers and sailed with the main body of the NZEF to the Middle East in October 1914.
Promoted to captain, Waite participated in the Gallipoli campaign. In early May 1915, he restored order amongst personnel of the Otago Infantry Battalion following a failed attack on Turkish positions. He was awarded the Distinguished Service Order, the citation reading:
> For gallantry and devotion to duty in connection with the operations at the Dardanelles (Mediterranean Expeditionary Force). On the night of 2–3 May 1915 during the operations in the neighbourhood of Gape Tepe for gallantry and resource in rallying his men, and leading them forward at critical moments.
Later in the campaign Waite served as the adjutant of the New Zealand Engineers and was twice mentioned in dispatches. Evacuated to England with dysentery, he was repatriated to New Zealand in 1916. His service with the NZEF ceased and he returned to the TF in his pre-war rank of major. He took up an appointment as Chief Engineer Instructor of the NZEF training camps.
Shortly before the end of the war, Waite wrote a brief account of New Zealand's contributions to the Gallipoli Campaign. Authorities invited him to prepare a more substantial work and this resulted in The New Zealanders at Gallipoli, the first volume in a series of the Official History of New Zealand's Effort in the Great War, published in 1919. Two years later it was republished as a revised edition.
The figure of 8556 New Zealand soldiers who served at Gallipoli given by General Ian Hamilton in his forward to Waite’s demi-official 1919 history was always known to be too low; as Waite himself thought at the time. Between 16,000 (perhaps 17,000) served there, as shown in a 2019 study by New Zealand historians John Crawford and Matthew Buck.
Waite also worked on the production of the three other volumes in the series, which were published around the same time.
## Interwar period
After the war, Waite returned to his Balclutha property which he converted to dairy farming. He remained a member of the TF for several years and was a major in the Otago Mounted Rifles Regiment before being promoted to lieutenant colonel and becoming its commander from 1927 to 1930. For his prolonged service with the TF, he eventually received the Colonial Auxiliary Forces Officers' Decoration. In 1935 he was awarded the King George V Silver Jubilee Medal. Already involved in the dairying industry, he began to participate in the governance of the sector and set up the Co-Operative Dairy Company of Otago. He later joined the New Zealand Farmer's Union and was president of its Otago Branch.
As well as his work in the dairying sector, Waite soon became involved in local politics and joined the Reform Party. He first stood for election to the House of Representatives in , when he defeated the incumbent in the electorate, John Edie of the Liberal Party, with ease. He was one of 13 new members in a House of 80 representatives. In the , he was challenged by Joseph Stephens, who was an independent candidate describing himself as Liberal–Labour. Waite had a 523-vote margin, which represented 6.5% of the valid votes. In the , Waite was defeated by Peter McSkimming, who stood as an Independent, but had links to the United Party.
Prime Minister George Forbes had not made appointments to the Legislative Council since 1930, with the exception of James Parr in 1931, and membership dwindled during the years of the Great Depression. By 1934, the membership had reduced to 19, the lowest since 1860, with two members about to retire. In 1934, 14 new members were appointed by Forbes, including Waite. All appointments became effective on 22 June 1934, and Waite, at age 49, was the second youngest of the intake; only Vincent Ward was younger. Waite was reappointed twice, and served until the abolition of the Upper House in 1950.
When the National Party was formed in 1936 from the merger of Reform and the United Party, publicity was one of the major considerations. The party's provisional council established a sub-committee consisting of Henry Livingstone, Frederick Doidge, and Waite. This committee reported back in February 1937, recommending the establishment of a Dominion publicity committee, and a trustee company for the purpose of publishing a party newsletter. Party Publications Ltd was thus created, and Waite was the first editor of The National News. Initially, all financial members were to receive this monthly newsletter, aimed at being a counterpart to Labour's Standard. While The National News performed an important function during the party's formative years, the venture was expensive and following the , it was changed to a quarterly schedule, before being discontinued in September 1939 just after the outbreak of the war.
The seven-member Dominion publicity committee, of which Waite was a member, engaged three advertising companies to jointly prepare for the 1938 election. Two of those companies, John Ilott and Charles Haines, remained joint agents for the National Party until 1973.
## Second World War
When the Second World War began, Waite was still a lieutenant colonel in the TF. He was appointed overseas commissioner for the National Patriotic Fund Board. Based in Egypt, he worked to provide the soldiers of the Second New Zealand Expeditionary Force with special supplies and treats. His services in this capacity were recognised in 1944 with his appointment as an Officer of the Order of the British Empire. He finished the war a colonel, working in Europe on the repatriation of New Zealand personnel recently released from prisoner-of-war camps in Germany. In 1946, he travelled to Japan to inspect the infrastructure set up for J-Force, New Zealand's contribution to the British Commonwealth Occupation Force, following which he retired from the military. In the 1946 King's Birthday Honours, he was appointed a Companion of the Order of St Michael and St George.
## Later life
In his retirement, Waite wrote papers on archeology and history including one on Egyptian pottery. While in Cairo during the Second World War, he collected several historical antiquities on behalf of the Otago Museum. In 1951 Waite was granted the right to retain the title of "Honourable", having served more than 10 years as a member of the Legislative Council. In his later years, his health was poor and he died in Balclutha in 1952 at the age of 67. He was survived by his wife and a daughter. | [
"## Early life",
"## First World War",
"## Interwar period",
"## Second World War",
"## Later life"
] | 1,894 | 5,853 |
15,773,551 | The Last Ringbearer | 1,167,273,599 | 1999 fantasy book by Russian author Kirill Eskov | [
"1999 novels",
"Fan fiction works",
"High fantasy novels",
"Parallel literature",
"Parody novels",
"Russian fantasy novels",
"Sequel novels",
"Tolkien fandom",
"Works based on Middle-earth"
] | The Last Ringbearer (Russian: Последний кольценосец, romanized: Posledniy kol'tsenosets) is a 1999 fantasy fan-fiction book by the Russian paleontologist Kirill Eskov. It is an alternative account of, and an informal sequel to, the events of J. R. R. Tolkien's The Lord of the Rings. It has been translated into English by Yisroel Markov, but the translation has not been printed for fear of copyright action by the Tolkien Estate.
Critics have stated that the book is well-known to Tolkien fans in Russia, and that it provides an alternate take on the story. Scholars have variously called it a parody and a paraquel. They have interpreted it as a critique of totalitarianism, or of Tolkien's anti-modern racial and environmental vision coupled with a destruction of technology which could itself be called totalitarian. The book contains sections of Russian history, and while it says little directly on real-world politics, it can be read as an ironic riposte to American exceptionalism.
## Premise
Eskov bases his novel on the premise that the Tolkien account is a "history written by the victors". Mordor is home to an "amazing city of alchemists and poets, mechanics and astronomers, philosophers and physicians, the heart of the only civilization in Middle-earth to bet on rational knowledge and bravely pitch its barely adolescent technology against ancient magic", posing a threat to the war-mongering faction represented by Gandalf (whose attitude is described by Saruman as "crafting the Final Solution to the Mordorian problem") and the Elves.
Macy Halford, in The New Yorker, writes that The Last Ringbearer retells The Lord of the Rings "from the perspective of the bad guys, written by a Russian paleontologist in the late nineties and wildly popular in Russia". The book was written in the context of other Russian reinterpretations of Tolkien's works, such as Natalia Vasilyeva and Natalia Nekrasova's The Black Book of Arda [ru], which treats Melkor as good and the Valar and Eru Ilúvatar as tyrannical rulers.
## Plot
The tale begins by recapping the War of the Ring. The Ring itself is a luxurious ornament, but powerless, crafted by the Nazgûl (a group of ancient scientists and philosophers who guide Mordor through its industrialization) to distract Gandalf and the Elves while Mordor built up its army. Aragorn is a puppet of the Elves, seeking to usurp the throne of Gondor by murdering Boromir before Gandalf removes Denethor. Arwen, being 3,000 years older, holds Aragorn in contempt, but uses their marriage to cement Elvish rule over Gondor. Faramir has been exiled to Ithilien, where he is kept under guard with Éowyn. The Elves have corrupted the youth of Umbar (using New-Age style mysticism), which they aim to use as a foothold into Harad and Khand.
After defeating the Mordorian army, the Elves enter Mordor to massacre civilians with the help of Men from the East, to eliminate the "educated" classes. Two Orc soldiers ("Orc" being a racial slur used by the West: the Orcs in Eskov's book are humans), the medic Haladdin and Sergeant Tzerlag are fleeing the battle plain. They rescue Tangorn, a Gondorian noble who had been left buried in the desert for attempting to stop one of the massacres. They locate the mercenaries and kill the Elf Eloar.
The last of the Nazgûl, Sharya-Rana, visits Haladdin and explains that the physical world, Arda, is linked to the magical world from which the Elves came by the power of Galadriel's Mirror in Lórien and the palantírs. Haladdin is given the task of destroying the Mirror to separate the worlds and complete the goal of making men truly free. Haladdin is chosen as he is a rare individual in whom there is absolutely no magic and has a tendency to behave irrationally, for example joining the Mordorian army as a medic to impress his girlfriend and almost dying as a result, instead of putting his talents to better use at home in the university. While the Nazgûl cannot foresee how the quest is to be completed, he is able to provide Haladdin with useful information, including the current location of the palantírs.
An elaborate plan is devised which involves the forging of a letter from Eloar by a Mordorian handwriting expert. Tangorn manages to arrange a meeting with the Elves in Umbar, while evading Gondor's efforts to eliminate him. He succeeds in getting the letter to Eloar's brother Elandar. His plan succeeds when he is killed, an event which convinces the Elves to pass his message on to Eloar's mother, Eornis, a member of the ruling hierarchy of Lórien. She is led to believe that her son has been captured rather than killed. A palantír is dropped into Lórien by a Mordorian researcher developing flight-based weapons (under the secret patronage of Aragorn), and Eornis is instructed to bring the palantír to Galadriel's Mirror. This is supposed to prove that she is in Lórien, whereupon she will be allowed to communicate with Eloar.
Haladdin brings another palantír to Mount Doom. Gandalf figures out his plan and, concerned that magic will be banished from Middle-Earth, casts a spell on the palantír to turn its user into stone. Saruman, despite opposing Gandalf's methods, believes that Sharya-Rana's hypothesis about the relationship between the magical and physical worlds is incorrect and attempts to reason with Haladdin. However, Tzerlag touches the palantír by mistake and begins to turn into stone. Haladdin decides to drop the palantír into Orodruin because Saruman is unable to reverse Gandalf's spell. This causes the Eternal Fire to be transmitted to the other palantírs and the Mirror, destroying them and the magic of the Elves.
Haladdin goes into self-imposed exile and Tzerlag's descendants pass on the story orally, but the official record contains Aragorn's version of events. Despised by the Gondorian aristocracy, Aragorn finds favour with the people, as his policies result in an "economic miracle". After his death, childless, the throne reverts to the "rightful" king, Faramir. The Elves end their occupation of Mordor and leave Middle-Earth, which enters the industrial age.
## Publication
The book was first published by ACT of Moscow in Russian in 1999. It was reprinted in Russian by Folio of Kharkov in 2002, and by the print on demand publisher CreateSpace in 2015.
Though translated into several languages, the book has not had a commercial release in English, for fear of legal action by the Tolkien Estate. In 2010, Yisroel Markov translated the book into English, with a second edition released in 2011 fixing typos and revising the prose as well as providing ebook formatted versions; his text has appeared as a free and non-commercial ebook, and Eskov has officially approved this release. Mark Le Fanu, general secretary of the Society of Authors, opined that despite being non-commercial, the book still constitutes a copyright infringement.
### Translations
- Czech: Poslední Pán Prstenu, Fantom Print, 2003.
- English: The Last Ringbearer (online only)
- Estonian: Viimane sõrmusekandja, Fantasy, 2010.
- French: Le Dernier Anneau, 500nuancesdegeek, 2018.
- Polish: Ostatni powiernik Pierścienia, Red Horse, 1999. , translated by Eugeniusz Dębski and Ewa Dębska
- Polish: Ostatni Władca Pierścienia, Solaris, 2002. (same translation)
- Portuguese: O Último Anel, Saída de Emergência, 2008.
- Spanish: El último anillo, debolsillo, 2011.
## Reception
### Critical
The American journalist Laura Miller praises The Last Ringbearer in Salon as "a well-written, energetic adventure yarn that offers an intriguing gloss on what some critics have described as the overly simplistic morality of Tolkien's masterpiece." She notes that Markov's is the "official" translation, approved by Eskov, and more polished than earlier translations of some sections of the book. In her view, there are "still some rough edges", such as the mix of present and past tenses at the start, and what she calls the "(classically Russian) habit" of adding sections of political or military history to the narrative. Noting that the book has been called fan fiction, Miller comments that it is nothing like the teenage girl fantasy genre of "unlikely romantic pairings" of characters from the canon. She likens it instead to Alice Randall's The Wind Done Gone, a retelling of Gone with the Wind, stating that Eskov's is the better book.
Benedicte Page, writing in The Guardian, states that the book is well-known to fans in Russia, and that it is based on "the idea that Tolkien's own text is the romantic legend of the winning party in the War of the Rings, and that a closer examination of it as a historical document reveals an alternate version of the story."
Terri Schwartz, writing on MTV, describes the book's take, with a warmongering Gandalf who seeks only to "crush the scientific and technological initiative of Mordor", while a forward-thinking Sauron passes a "universal literacy law", as "certainly a different take on the story, to say the least."
### Academic
The scholar of English literature Catherine Coker describes the novel as "transparent revisionism" and "a Russian parody" which repurposes the characters' ideologies "so that the heroic epic becomes a critique of totalitarianism". In her view, with Tolkien's idealism removed, the story is changed radically, becoming "emphatically, a work in its own right".
Mark Wolf, a scholar of video gaming and imaginary worlds, calls the work a paraquel, a narrative that runs at the same time as the original story, with a different perspective.
The independent scholar of culture and comparative literature Greg Clinton, noting that Eskov depicts Sauron and his industrial realm of Mordor as "not 'evil', but ... working to modernize production", comments that the book sees something that he believes Tolkien missed, namely that destroying technology in favour of nature as The Lord of the Rings suggests would itself be "a totalitarian move".
The scholar of culture David Ashford describes the novel as a "splendid counter-factual fantasy", calling it the "most entertaining" and best-known Russian retelling, despite Tolkien's direct statement rejecting any link between Orcs and Russia: "To ask if the Orcs 'are' Communists is to me as sensible as asking if Communists are Orcs." Eliot Borenstein comments that Eskov's book says little about real-world politics, despite possible allusions to a "final solution", but that it does support an idea from Russian science fiction, namely that if "American exceptionalis[ts]" like Ronald Reagan and George W. Bush want Russia to be their "evil empire", then fine, "but we'll do it with an irony and pride that you'll never entirely comprehend."
Robert Stuart, a Tolkien scholar interested in the question of Tolkien and race, comments that Eskov's book is "evidently particularly effective in critiquing the anti-modern dimension of Tolkien's ideological viewpoint".
## See also | [
"## Premise",
"## Plot",
"## Publication",
"### Translations",
"## Reception",
"### Critical",
"### Academic",
"## See also"
] | 2,497 | 4,814 |
943,739 | Chad at the 2004 Summer Olympics | 1,037,760,712 | null | [
"2004 in Chadian sport",
"Chad at the Summer Olympics by year",
"Nations at the 2004 Summer Olympics"
] | Chad competed at the 2004 Summer Olympics in Athens, Greece, from 13 to 29 August 2004. The country's participation at Athens marked its tenth appearance in the Summer Olympics since its debut at the 1964 Summer Games in Tokyo, Japan. The delegation included two track and field athletes; Djikoloum Mobele in the men's 100 metres and Kaltouma Nadjina in the women's 400 metres. Both athletes participated at the Games through wild card places since they did not meet the required standards to qualify. Nadjina progressed past the first round of her competition, but was eliminated in the semi-finals.
## Background
Chad participated in ten Summer Olympics between its debut in the 1964 Summer Games in Tokyo, Japan, and the 2004 Summer Olympics in Athens, Greece. The only occasions in that period which they did not attend was at the 1976 Summer Olympics in Montreal, Quebec, Canada, and the 1980 Summer Olympics in Moscow, Soviet Union. On both occasions, it was because they had joined with international boycotts of the events. The first boycott was because of the inclusion of the New Zealand team at the Games despite the breach of the international sports boycott of South Africa by the nation's rugby union team shortly prior. In 1980, Chad joined with the United States led boycott over the 1979 invasion of Afghanistan during the Soviet–Afghan War.
As of 2004, the highest number of Chadians participating at any one Games was six at both the 1988 Summer Games in Seoul, South Korea, and at the 1992 Summer Olympics in Barcelona, Spain. Nor had any Chadian ever won a medal at an Olympics.
The Chadian team for the 2004 Athens Games featured sprinter Kaltouma Nadjina in the women's 400 metres, who had previously competed for the nation at the 2000 Summer Olympics in Sydney, Australia. Nadjina had trained in the United States and Canada, under an International Olympic Committee scholarship. But after refusing to move from Canada to Senegal following the 2000 Games, she lost her funding, and lived in a spare room of her coach John Cannon's house in Vancouver. Prior to the 2004 Games, she had considered switching her allegiance from Chad to Canada.
## Athletics
Chad was represented by one male athlete at the 2004 Games in athletics – Djikoloum Mobele in the 100 metres. He qualified for the 2004 Games through the use of a wildcard, since his season best time of 11.38 seconds for the 100 metres fell outside of the "B" qualifying standard of 10.28 seconds. He had been due to compete in the seventh heat, taking place on 21 August, however Mobele did not start the race.
The country's sole female athlete at the 2004 Games was Kaltouma Nadjina in the 400 metres. Her season best time of 50.80 seconds fell within the "A" qualifying time of 51.50 seconds. At her previous appearance at the Olympics, she reached the semi-finals of the 400 metres. Her first run of the Games took place in the second heat on 21 August. She placed third out of the seven athletes, with a time of 51.50 seconds, behind Monique Hennagan of the United States (51.02 seconds) and Bulgaria's Mariyana Dimitrova (51.29 seconds). Nadkina's third-place finish qualified her for the semi-finals. The following round took place on the following day, with Nadkina competing in the second of the three heats. She finished in fifth place with a time of 51.57 seconds, failing to qualify for the final. The heat was won by Bahamas' Tonique Williams-Darling, with a time 1.57 seconds ahead of Nadkina.
Track events | [
"## Background",
"## Athletics"
] | 811 | 5,195 |
3,808,207 | French cruiser Dupuy de Lôme | 1,150,345,941 | French armoured cruiser | [
"1887 ships",
"Cruisers of the French Navy",
"Merchant ships of Belgium",
"Ships built in France",
"Ships with Admiralty direct-tube boilers",
"Steamships of Belgium"
] | Dupuy de Lôme was an armoured cruiser built for the French Navy (Marine Nationale) during the late 1880s and 1890s. She is considered by some to be the world's first armoured cruiser and was intended to attack enemy merchant ships. The ship was named after the naval architect Henri Dupuy de Lôme. Dupuy de Lôme's completion was delayed by almost two years by problems with her boilers, but she was finally commissioned in 1895 and assigned to the Northern Squadron (Escadre du Nord), based at Brest, for most of her career. The ship made a number of visits to foreign ports before she began a lengthy reconstruction in 1902. By the time this was completed in 1906, the cruiser was regarded as obsolete and Dupuy de Lôme was placed in reserve, aside from one assignment in Morocco.
The ship was sold to the Peruvian Navy in 1912, but they never paid the last two installments and the ship remained inactive at Brest during World War I. The French agreed to take the ship back in 1917, keeping the money already paid, and they sold her in 1918 to a Belgian shipping company that converted her into a freighter. Renamed Péruvier, the ship's engines broke down during her maiden voyage as a merchant vessel in 1920 and she had to be towed to her destination, whereupon part of her cargo of coal was discovered to be on fire. Deemed uneconomical to repair, Péruvier was towed to Antwerp and later scrapped in 1923.
## Design and description
Dupuy de Lôme was designed to fill the commerce-raiding strategy of the Jeune École naval theory. Considered by some the first true armoured cruiser (as the type is understood in its sailless turn-of-the-century form, compared with earlier steam-and-sail cruising ships with armour), she was superior to existing British and Italian protected cruisers, especially in her relatively thick and very extensive steel armour. She could exert significant control over the engagement range with her high speed and her heavy armament of quick-firing guns, all of which were of very modern high-velocity type and were mounted in gun turrets, in marked contrast to her intended opponents who mounted their guns in lightly protected casemates or pivot mounts.
The ship measured 114 metres (374 ft 0 in) between perpendiculars, with a beam of 15.7 metres (51 ft 6 in). Dupuy de Lôme had a mean draught of 7.07 metres (23 ft 2 in) and displaced 6,301 tonnes (6,201 long tons) at normal load. At deep load, she displaced 6,682 tonnes (6,576 long tons) and had a metacentric height of only 0.695 metres (2 ft 3.4 in). This gave the ship a long, slow roll and made her an uncertain gunnery platform. Her long, cut-away bow resembled a spur-type ram, but was not armoured. It was reduced in profile to reduce blast damage when the forward guns were fired. Dupuy de Lôme was fitted with two large military masts.
She had three triple-expansion steam engines, a vertical type for the centre shaft and horizontal types for the outboard shafts. Each engine drove a single propeller shaft, with propellers 4.2 metres (13 ft 9 in) in diameter on the outboard shaft and a 4.4-metre (14 ft 5 in) propeller on the centre shaft. Steam for the engines was provided by 11 Amirauté fire-tube boilers and they were rated at a total of 14,000 metric horsepower (10,000 kW). The ship had a designed speed of 20 knots (37 km/h; 23 mph), but during sea trials on 2 April 1895 the engines only produced 13,186 metric horsepower (9,698 kW) that gave a maximum speed of 19.73 knots (36.54 km/h; 22.70 mph). Dupuy de Lôme carried up to 1,080 tonnes (1,060 long tons; 1,190 short tons) of coal and could steam for 4,000 nautical miles (7,400 km; 4,600 mi) at a speed of 12.5 knots (23.2 km/h; 14.4 mph).
Dupuy de Lôme's main armament consisted of two 45-calibre Canon de 194 mm Modèle 1887 guns that were mounted in single gun turrets, one on each broadside amidships. Her secondary armament comprised six 45-calibre Canon de 164 mm Modèle 1887 guns, three each in single gun turrets at the bow and stern. The three turrets at the stern were all on the upper deck and could interfere with each other. For anti-torpedo boat defence, she carried ten 47-millimetre (1.9 in) and four 37-millimetre (1.5 in) Hotchkiss guns. She was also armed with four 450-millimetre (17.7 in) pivoting torpedo tubes; two mounted on each broadside above water.
The whole side of the ship was protected by 100 millimetres (3.9 in) of steel armour, from the bottom edge of the protective deck 1.38 metres (4 ft 6 in) below the waterline to the edge of the weather deck. The curved protective deck had a total thickness of 30 millimetres (1.2 in) and did not rise above the ship's waterline. Protecting the boiler rooms, engine rooms, and magazines below it was a splinter deck 8 millimetres (0.31 in) thick. The space between the protective and splinter decks could be filled with coal to increase the effective thickness of the ship's armour. It was very cramped there and the coal was very difficult to access. A watertight internal cofferdam, filled with cellulose, ran the length of Dupuy de Lôme from the protective deck to a height of 1 metre (3 ft 3 in) above the waterline. Below the protective deck the ship was divided by 13 watertight transverse bulkheads with three more above the protective deck. The ship's conning tower was protected by 125 mm (4.9 in) and her turrets by 100 mm of armour.
## Service
Dupuy de Lôme was laid down at the Brest shipyard on 4 July 1888 and launched on 27 October 1890. A number of her forged steel armour plates proved to be defective during tests as the metallurgical techniques to harden it were still under development, but most plates were accepted anyway. The ship was commissioned for preliminary sea trials on 1 April 1892 and one boiler tube burst on 20 June, burning 16 men. The necessary modifications to fix the problem delayed the ship's completion by almost a year. Further testing in October 1893, showed that Dupuy de Lôme's engines could only attain 10,180 metric horsepower (7,490 kW) during a 24-hour trial and that the boilers were structurally unsound. The manufacturer agreed to replace them, but the necessary work delayed the ship's completion by another year. She was commissioned again for a new set of sea trials on 15 November 1894 and proved reasonably satisfactory.
Dupuy de Lôme was finally commissioned on 15 May 1895 and was assigned to the Northern Squadron, based on the Atlantic coast. She represented France, together with the ironclad Hoche and the cruiser Surcouf, during the opening ceremony for the Kiel Canal the following month. She made port visits in Spain in June 1896 and escorted the Russian Imperial yacht into Cherbourg when Nicholas II of Russia began a state visit on 5 October. The ship escorted the President of France, Félix Faure, when he visited Russia in April 1897. Bilge keels were fitted during a brief refit that began in October and effectively reduced the ship's roll by half. In June 1899, Dupuy de Lôme visited ports in Spain and Portugal and she represented France at Spithead during Queen Victoria's funeral in January–February 1901.
The ship began an extensive reconstruction in 1902 at Brest, with the installation of 20 new Guyot–du-Temple water-tube boilers, that took four years to complete. The boilers had an operating pressure of 11.25 kg/cm<sup>2</sup> (1,103 kPa; 160 psi) and they required that a third funnel be added which necessitated extensive structural modifications. The rear military mast was replaced by a simple pole mast and sea trials in July 1906 showed that the ship could only attain 18.27 knots (33.84 km/h; 21.02 mph) from 12,887 metric horsepower (9,478 kW). Dupuy de Lôme was placed in reserve after completing her refit in October 1906 and was not recommissioned until September 1908 for service on the Moroccan station. By this time many of the ship's plates were rusting and her entire water distribution system had to be dismantled for cleaning in 1909. Later that year, she was placed into reserve again and deemed uneconomical to repair. Dupuy de Lôme was decommissioned on 20 March 1910, but the final decision to strike her from the Navy List was not made until 20 February 1911.
Prompted by the rumoured purchase of the small Italian protected cruiser Umbria by Ecuador in 1910, Peru offered to buy a French armoured cruiser. A price of three million francs was agreed upon, to be paid in three instalments, and Peru agreed to reimburse France for the costs of repairing Dupuy de Lôme. These repairs were completed by 6 March 1912 and the ship was formally transferred to the Peruvian Navy and renamed Commandante Aguirre after the first instalment was paid. After Umbria was bought by Haiti instead of Ecuador, the Peruvians lost interest in completing the purchase and the ship was left in the care of the French in October 1914. Proposals to use her during World War I were rejected as she was thought to be too obsolete to be worth refitting. On 17 January 1917 the ship was officially returned to France and the money already paid was put against the cost to repair Commandante Aguirre. Any money in excess of the estimated 400,000 francs that her scrapping would bring would be turned over to Peru.
In October 1918, she was sold to the Belgian firm of Lloyd Royal Belge (LRB) and converted to a freighter under the name Péruvier by Forges et Chantiers de la Gironde. A conventional bow was built up over her pseudo-ram and the space was used to accommodate her crew. The two outboard engines, their associated boilers and propeller shafts were removed as were the two forward funnels. The ship's side and deck armour was removed wherever it did not compromise structural strength. Péruvier was delivered in December 1919 and she began her first voyage carrying 5,000 tonnes (4,900 long tons) of coal from Cardiff to Rio de Janeiro on 20 January 1920. Engine repairs had to be made at Falmouth the next day and were not completed until 14 February. Her engine broke down again in the mid-Atlantic and she was towed to Las Palmas by a Spanish merchantman. Arriving there on 20 March, she was towed by another LRB ship to Pernambuco. After her arrival there on 1 June, the coal in her No. 3 hold was found to be on fire. This was not extinguished until 19 June and the ship remained in harbour until 14 October. Péruvier was towed to Antwerp, arriving on 18 November, and lay idle there until she was sold for scrap. On 4 March 1923, she was towed to the shipbreakers in Flushing. | [
"## Design and description",
"## Service"
] | 2,552 | 18,796 |
38,833,751 | 10 Story Fantasy | 1,062,076,434 | US pulp science fiction magazine | [
"Defunct science fiction magazines published in the United States",
"Fantasy fiction magazines",
"Magazines disestablished in 1951",
"Magazines established in 1951",
"Pulp magazines",
"Science fiction magazines established in the 1950s"
] | 10 Story Fantasy (occasionally referred to as Ten Story Fantasy) was a science fiction and fantasy pulp magazine which was launched in 1951. The market for pulp magazines was already declining by that time, and the magazine only lasted a single issue. The stories were of generally good quality, and included work by many well-known writers, such as John Wyndham, A.E. van Vogt and Fritz Leiber. The most famous story it published was Arthur C. Clarke's "Sentinel from Eternity", which later became part of the basis of the movie 2001: A Space Odyssey.
## Publication history
The early 1950s saw dramatic changes in the history of U.S. science fiction publishing. At the start of 1949, all but one of the major magazines in the field were in pulp format; by the end of 1955, almost all had either ceased publication or switched to digest format. Despite the rapid decline of the pulp market, several new science fiction magazines were launched in pulp format during these years. In 1950, Avon Publications experimented with a format that included several pages of comics, trying new pulp magazines in three genres: romance, westerns, and science fiction. The sci-fi pulp, titled Out of This World Adventures, lasted for two issues; the others for only one.
Despite these failures, Joseph Meyers, Avon's owner, decided to try another pulp magazine the following year when his printer, J.W. Clements offered Meyers a low price for printing a pulp magazine. Donald A. Wollheim, Avon's executive editor, titled the new magazine 10 Story Fantasy, although it actually contained thirteen stories. The layout bore a strong resemblance to that of Out of This World Adventures: both magazines had unusually elaborate artwork for the table of contents, and in both magazines the first letter of each story was decorated with black and white art. As in Out of This World Adventures, the interior art was mostly supplied by William McWilliam and "Martin", both of whom worked in Avon's comics department.
The cover art, selected by Meyers, not Wollheim, illustrates John Wyndham's story "Tyrant & Slave-Girl on Planet Venus" (published under the pseudonym "John Beynon"). This story had been sold first to the British magazine New Worlds, under the title "No Place Like Earth"; Wyndham subsequently sold the American rights to Wollheim, and it appeared on both sides of the Atlantic at the same time. Myers picked the new, more lurid title; all subsequent reprint appearances used the title "No Place Like Earth".
10 Story Fantasy*'s most famous story is Arthur C. Clarke's "Sentinel from Eternity", which Clarke submitted to a BBC writing competition in 1948; it did not receive a prize or honorable mention. The story later became part of the basis of the movie 2001: A Space Odyssey*. The stories were generally of good quality, with several well-known contributors such as A.E. van Vogt, L. Sprague de Camp, August Derleth, and Lester del Rey. Among the better-received stories were "Friend to Man", by C.M. Kornbluth; "Private Worlds", by Wollheim, under the pseudonym "Martin Pearson"; "Cry Witch", by Fritz Leiber; and "Seeds of Futurity", by Kris Neville.
Although the quality of the stories was high, the publisher was unwilling to commit to future issues, and the Spring 1951 issue was the only one that appeared.
## Bibliographic details
The magazine was announced as a quarterly but only one issue was published. Donald Wollheim was editor for the only issue, which was numbered volume 1 number 1. It was published in pulp format, priced at 25 cents and was 128 pages. The publisher was Avon Periodicals of New York. | [
"## Publication history",
"## Bibliographic details"
] | 803 | 16,402 |
9,275,519 | Taiyō-class escort carrier | 1,082,689,087 | Escort carrier class of the Imperial Japanese Navy | [
"Escort aircraft carrier classes",
"Taiyō-class escort carriers",
"World War II escort carriers of Japan"
] | The Taiyō-class escort carrier (大鷹型航空母艦, Taiyō-gata Kōkū-bokan) was a group of three escort carriers used by the Imperial Japanese Navy (IJN) during World War II. Two of the ships were built as cargo liners in the late 1930s and subsequently taken over by the IJN and converted into escort carriers, while the third ship was converted while still under construction. The first ship converted, Taiyō, ferried aircraft and supplies to Japanese possessions before the start of the Pacific War in December 1941 and also served as a training ship between transport missions. Once the war began she did much the same for the newly conquered areas. Her sister ship, Un'yō did much the same in 1942. Chuyō, the last of the three to be converted, only ferried aircraft between Japan and the naval base at Truk before she was sunk by an American submarine in December 1943. Her sisters sometimes had other destinations other than Truk in 1943, but it was also their primary destination until they were damaged by American submarines in late 1943 or early 1944. After finishing their repairs in 1944, the sisters combined convoy escort duties with their transport missions and often ventured as far south as Singapore. Taiyō was the first of the pair to be sunk, torpedoed by an American submarine in August, with Un'yō following her sister a month later.
## Background and description
These ships were Nitta Maru-class cargo liners built by Mitsubishi at their Nagasaki shipyard for the shipping lines Nippon Yusen Kaisha (NKK) and Osaka Shosen Kaisha (OSK). Nitta Maru and Yawata Maru were ordered for NKK and both were completed before the beginning of the Pacific War in December 1941. The ships were intended for service to Europe, but the start of World War II in September 1939 restricted them to the Pacific. Kasuga Maru had been ordered by OSK and was fitting out when she was acquired by the IJN in 1940 and towed to Sasebo Naval Arsenal on 1 May 1941 to finish her conversion into an escort carrier. She was the first ship to be completed as her sister ships were not converted until 1942.
The Nitta Maru-class ships were 17,163-gross register ton (GRT) cargo liners that had a length of 170 metres (557 ft 9 in), a beam of 22.5 metres (73 ft 10 in) and a depth of hold of 12.4 metres (40 ft 8 in). They had a net tonnage of 9,397 and a cargo capacity of 11,800 tons. They had accommodations for 285 passengers (127 first class, 88 second and 70 third). The ships were powered by two sets of geared steam turbines made by the shipbuilder, each driving one propeller shaft, using steam produced by four water-tube boilers. The turbines were rated at a total of 25,200 shaft horsepower (18,800 kW) that gave them an average speed of 19 knots (35 km/h; 22 mph) and a maximum speed of 22.2 knots (41.1 km/h; 25.5 mph).
The conversion of the Taiyō-class ships, as the former liners were now known, was fairly austere and they were flush-decked carriers that displaced 18,120 tonnes (17,830 long tons) at standard load and 20,321 tonnes (20,000 long tons) at normal load. The ships had an overall length of 180.2 metres (591 ft 4 in), a beam of 22.5 metres (73 ft 10 in) and a draught of 7.7–8 metres (25 ft 3 in – 26 ft 3 in). As carriers they had a speed of 21 knots (39 km/h; 24 mph). The uptakes for the boilers were trunked together into a downward-curving funnel on the starboard side of the hull amidships. The ships carried 2,290 tonnes (2,250 long tons) of fuel oil that gave them a range of 6,500 nautical miles (12,000 km; 7,500 mi) at a speed of 18 knots (33 km/h; 21 mph). Taiyō's crew numbered 747 officers and ratings while her sisters had 850 officers and crewmen.
The flight deck was 172 metres (564 ft 3 in) long and 23.5 metres (77 ft) wide. The ships had a single hangar, approximately 91.4 metres (300 ft) long, served by two centreline aircraft lifts, each 12 by 13 metres (39.4 ft × 42.7 ft). Taiyō could accommodate a total of 27 aircraft, including four spares, and her sisters had a capacity of 30 aircraft. Although larger, faster and having a larger aircraft-carrying capacity than their western counterparts, these ships were unsuited to a traditional carrier role as they lacked arresting gear.
### Armament
Taiyō, as the first ship completed, had an armament of six single 45-calibre 12 cm (4.7 in) 10th Year Type anti-aircraft (AA) guns in sponsons along the sides of the hull. The guns had a maximum elevation of +75° which gave them a range of 16,600 metres (18,200 yd) and a ceiling of 10,000 metres (33,000 ft). They fired 20.41-kilogram (45.0 lb) projectiles at a rate at 10–11 rounds per minute at a muzzle velocity of 825–830 m/s (2,710–2,720 ft/s). Her light AA consisted of eight license-built 2.5 cm (1 in) Type 96 in four twin-gun mounts, also in sponsons along the sides of the hull. They fired 0.25-kilogram (8.8 oz) projectiles at a muzzle velocity of 900 m/s (3,000 ft/s); at 50°, this provided a maximum range of 7,500 metres (8,202 yd), and an effective ceiling of 5,500 metres (18,000 ft). The maximum effective rate of fire was only between 110 and 120 rounds per minute due to the need to frequently change the fifteen-round magazines.
Chūyō and Un'yō were equipped with eight more modern 40-caliber 12.7 cm (5 in) Type 89 dual-purpose guns in four twin mounts on sponsons along the sides of the hull. They fired 23.45-kilogram (51.7 lb) projectiles at a rate between 8 and 14 rounds per minute at a muzzle velocity of 700–725 m/s (2,300–2,380 ft/s); at 45°, this provided a maximum range of 14,800 metres (16,200 yd), and a maximum ceiling of 9,400 metres (30,800 ft). They also had eight 2.5 cm Type 96 AA guns like Taiyō.
In early 1943, the four twin 2.5 cm mounts were replaced by triple mounts and varying numbers of additional Type 96 guns were added. Taiyō and Un'yō received a total of 24 guns in eight triple mounts while Chūyō had a total of 22 guns plus 5 license-built 13.2 mm (0.5 in) Type 93 anti-aircraft machineguns. The ships also received a Type 13 early-warning radar in a retractable installation on the flight deck at that time. The following year, Taiyō's 12 cm guns were replaced by four 12.7 cm Type 89 guns in twin mounts. In addition, Taiyō and Un'yō had their 2.5 cm guns increased to a total of 64 weapons.
## Ships
## Service history
Nitta Maru was requisitioned by the IJN in February 1941 and was followed by Yawata Maru in October. Among other tasks they were used to transport prisoners of war before beginning their conversion into escort carriers in 1942. All three ships received their naval names on 31 August.
Completed before the start of the Pacific War, Taiyō ferried aircraft, supplies, and personnel between Japanese bases and trained naval aviators in between transport missions. On 15 July, the ship and her sister Un'yō were assigned to the Combined Fleet. Upon receiving news of the American landings on Guadalcanal on 7 August, Taiyō and the battleship Yamato together with the 2nd and 3rd Fleets sailed from Japan bound for Truk on 17 August. Taiyō was detached from the fleet to deliver aircraft to the Marshall Islands on 27 August and then returned to Truk. In September the ship transferred supplies and equipment from Truk to the Philippines, Formosa and Palau; on the return voyage she was torpedoed by an American submarine. After receiving emergency repairs at Truk, the ship was sent to Japan for permanent repairs in October.
Her conversion and work up completed by the end of June 1942, Un'yō made three voyages from Japan to Truk, Saipan, and Rabaul between July and October. From late October to early January 1943, she ferried aircraft from Japan to the Philippines, Palau, the Dutch East Indies and Truk. Taiyō began transporting aircraft from Japan to Formosa and Truk at the beginning of November. Chu'yō's conversion was finished in November 1942 and she spent the next year exclusively ferrying aircraft to Truk, usually in company with one or the other of her sisters. Chu'yō and Taiyō were in company on 24 September 1943 when the latter was torpedoed; Chu'yō had to tow her to Yokosuka as one propeller shaft had been damaged by the torpedo hit. Chu'yō herself was torpedoed by the submarine USS Sailfish on 4 December; the hit blew off her bow and she had to steam in reverse. The submarine torpedoed her twice more later that day and disabled her engines. The third attack finally caused her capsize with heavy losses.
After Taiyō's repairs were completed in November 1943, she was transferred to the Grand Escort Command and began a refit that lasted until April 1944. Un'yō was also transferred to the Grand Escort Command in December 1943, but she continued her ferry missions to Truk. While returning from one, the ship was torpedoed in the bow on 19 January 1944, causing it to sag. While en route to Japan, part of her bow broke off in a storm and caused the forward end of the flight deck to collapse. She had to steam stern-first to Yokosuka for repairs that were completed at the end of June. Taiyō began escorted convoys to Manila, Formosa and Singapore after her refit was completed. She was torpedoed by the submarine USS Rasher on 10 August which caused her aft avgas tank to explode; the carrier sank about half-an-hour later with heavy casualties. Un'yō was only able to escort one convoy before she was sunk. During a return voyage from Singapore on 17 September, she was torpedoed by the submarine USS Barb. The torpedoes knocked out her steering gear and engines; a storm developed that night and caused severe flooding that caused her to sink the following morning. | [
"## Background and description",
"### Armament",
"## Ships",
"## Service history"
] | 2,447 | 17,303 |
72,740,493 | Fletcher Loyer | 1,172,708,035 | American basketball player | [
"2003 births",
"American men's basketball players",
"Basketball players from Indiana",
"Basketball players from Michigan",
"Living people",
"Purdue Boilermakers men's basketball players"
] | Fletcher Joseph Loyer (born September 1, 2003) is an American college basketball player for the Purdue Boilermakers of the Big Ten Conference. As a true freshman for the 2022–23 Boilermakers, he won both a Big Ten regular season and a 2023 Big Ten men's basketball tournament championship, while earning All-Big Ten honorable mention individual recognition. During the season, he set the Purdue freshman single-game three-point shots made record (6).
He played high school basketball in Michigan at Clarkston High School for his freshman and sophomore seasons. Then, he attended Homestead High School in Indiana for his junior and senior seasons. As a senior, he was the 2022 Indiana Gatorade Player of the Year award winner and the 2022 Indiana Mr. Basketball runner-up.
Loyer is the son of basketball coach and scout John Loyer and brother of Foster Loyer, the 2018 Mr. Basketball of Michigan.
## Early life and high school career
Loyer was born September 1, 2003, to John and Kate Loyer. His father played basketball at the University of Akron. His mother played volleyball at Indiana University, and she was an assistant coach for Purdue University volleyball. His grandfather, Al McFarland, played for Purdue Boilermakers men's basketball in 1964. The Loyer family moved for John's National Basketball Association career with the Portland Trail Blazers, Philadelphia 76ers, New Jersey Nets and Detroit Pistons. Loyer was an assistant coach for the Portland (2003–05), Philadelphia (2005–09) and New Jersey (2009–11) before taking on the same role with Detroit in 2011. He served as Pistons interim head coach for 32 games for the 2013–14 Pistons. He later joined the Los Angeles Clippers as a scout in 2016.
### Clarkston years (2018–20)
Loyer initially attended Clarkston High School in Clarkston, Michigan. As a freshman he was a 2019 Detroit Free Press Michigan High School Athletic Association (MHSAA) Division I all-state honorable mention selection. Loyer averaged 22 points, 3.5 rebounds, and 3.1 assists per game during his sophomore season. He was a 2020 The Detroit News MHSAA Division I all-state first team selection. Clarkston was 21–1 with a 20-game winning streak when COVID-19 pandemic lockdowns shutdown the season. By May 2020, he had scholarship offers from Toledo, Detroit Mercy and Denver. On May 30, 2020, he received his first high major offer from Michigan. By July 1, he also had offers from Purdue and Nebraska.
### Homestead years (2020–22)
Loyer's mother, Kate, is from Indiana (she had been a student athlete at McCutcheon High School). Loyer's had relatives in the Fort Wayne area, including many cousins and an aunt who was a volleyball coach at Concordia Lutheran High School. His family moved to Fort Wayne, Indiana after his sophomore year and by July 3, 2020, he enrolled at Homestead High School, At Homestead, which had won the 2015 Indiana Class 4A state championship, he would join a team with class of 2021 Illinois Fighting Illini men's basketball recruit, shooting guard Luke Goode. Loyer switched from shooting guard to point guard when he moved. On November 23, 2020, Loyer committed to Purdue over a field of offers that included Michigan, Missouri, Nebraska, Notre Dame and Utah. At the time, he was rated a three-star recruit and ranked 140th in the National class of 2022. He was later rated a four-star recruit. On December 29, 2020, Loyer posted a Homestead High School single-game scoring record with 50 points against Marion High School. After winning their first 25 games, top-ranked Homestead lost 60–49 in the regional semifinals to Carmel High School, the number 2 ranked team in the state, on March 13, 2021. Loyer had a game high 26 points. He averaged 24.4 points, 4.5 assists, and 4.9 rebounds per game during his junior season.
Although Loyer's Homestead team in Indiana was upset in March, he was able to play a full season during his junior year. In Michigan, almost the whole season was lost. Indoor winter sports were suspended November 18, 2020. Indoor contact winter high school sports' (basketball, wrestling, hockey and competitive cheer) season were suspended until at least February 21, 2021 due to the pandemic.
On March 12, 2022, future Purdue teammate Braden Smith led his Westfield High School team to a 64–53 victory over Loyer and Homestead in the Indiana state Class 4A Regional matchup. Although Loyer posted 27 points and surpassed former Boilermaker, Caleb Swanigan for the school's single-season scoring record (726 points versus 702 points), it was not enough to overcome Smith's 13-point, 8-rebound, 6-assist, 3-steal, and 2-block effort. On March 16, Loyer was named the Indiana boys' basketball Gatorade Player of the Year as a senior after averaging 26.9 points, 5.3 rebounds, and 3.6 assists per game. After totalling 803 points in two season in Michigan, he totaled 1360 points in his two years at Homestead to finish with 2,163 points in his high school career. On March 29, Loyer won the national 3-point contest as part of the 2022 High School Slam Dunk and 3-Point Championships over Kyle Filipowski and Austin Montgomery. On April 2, Loyer was runner up for Indiana Mr. Basketball to Smith by a 128–109 vote. On April 4, he was one of 14 players selected to the 2022 Indiana All-Stars boys team, but declined the award.
## College career
Loyer entered his freshman season at Purdue as a starter at guard. On November 28, 2022, Loyer was recognized as the Big Ten Freshman of the Week for averaging 12.3 points, 2.0 assists and 1.7 rebounds in three victories, including two over a pair of top-ten ranked opponents (14 points against No. 6 Gonzaga and 18 against No. 8/10 Duke), during Purdue's 2022 Phil Knight Invitational title run. The following day, CBSSports.com recognized Loyer as the first CBS Sports/USBWA National Freshman of the Week of the season. On December 5, he was named Big Ten Freshman of the Week when he averaged 15.5 points and 6.0 assists with no turnovers in another pair of wins. His career-high 20 points and eight rebounds against Minnesota was the first 20/8 performance by a Purdue freshman since Bruce Parkinson on March 10, 1973. When Purdue faced his brother's Davidson team on December 17, they won 69–61, and Fletcher outscored his brother 14–11. On January 5, he posted 11 second half points, including the game-winning go-ahead three point shot with 11 seconds remaining against Ohio State in Columbus, Ohio.
On January 17, 2023, Loyer was recognized as both a Co-Big Ten Player of the Week and the Big Ten Freshman of the Week after he scored 27 points and established a Purdue Boilermaker freshman single-game three point shots made record with 6 with against Nebraska on January 13. Purdue won the 2022–23 Big Ten Conference men's basketball regular season championship (the school's 25th) as well as the 2023 Big Ten men's basketball tournament. Following the regular season, Loyer was selected by both the coaches and the media as an honorable mention All-Big ten selection. \#1-seeded Purdue lost to 23.5 point underdog Fairleigh Dickinson in its 2023 NCAA Division I men's basketball tournament first round game in Columbus, the biggest upset in tournament history. Loyer, who scored Purdue's final 8 points, and who was part of a freshman backcourt (with Smith) that had 10 turnovers, missed a game-tying three point shot with 12.3 seconds left when he was pinned in the corner. The freshman backcourt pair of Smith and Loyer each started a school freshman record 35 games and finished the season as Purdue's 2nd highest scoring freshman duo (Loyer 384/Smith 340, 724 total) behind Robbie Hummel and E'Twaun Moore (813, 2008).
## Personal life
Loyer's older brother, Foster, was Mr. Basketball of Michigan and played at Davidson after beginning his career at Michigan State. The Loyer family also has a daughter, Jersey, Fletcher's sister. Jersey is a high school class of 2024 volleyball player at Concordia High School. | [
"## Early life and high school career",
"### Clarkston years (2018–20)",
"### Homestead years (2020–22)",
"## College career",
"## Personal life"
] | 1,907 | 12,417 |
16,549,073 | 1939 German ultimatum to Lithuania | 1,150,579,342 | German diplomatic demand on Lithuania | [
"1939 documents",
"1939 in Germany",
"1939 in Lithuania",
"1939 in international relations",
"Diplomatic incidents",
"Foreign relations of Nazi Germany",
"German occupation of Lithuania during World War II",
"Klaipėda Region",
"March 1939 events",
"Ultimata"
] | On 20 March 1939, Nazi Germany's foreign minister Joachim von Ribbentrop presented an oral ultimatum to Juozas Urbšys, foreign minister of Lithuania. Germany demanded that Lithuania give up the Klaipėda Region (also known as the Memel Territory) which had been detached from Germany after World War I, or the Wehrmacht would invade Lithuania and the de facto Lithuanian capital Kaunas would be bombed. The Lithuanians had been expecting the demand after years of rising tension between Lithuania and Germany, increasing pro-Nazi propaganda in the region, and continued German expansion. It was issued just five days after the Nazi occupation of Czechoslovakia. The 1924 Klaipėda Convention had guaranteed the protection of the status quo in the region, but the four signatories to that convention did not offer any material assistance. The United Kingdom and France followed a policy of appeasement, while Italy and Japan openly supported Germany, and Lithuania accepted the ultimatum on 23 March 1939. It proved to be the last territorial acquisition for Germany before World War II, producing a major downturn in Lithuania's economy and escalating pre-war tensions for Europe as a whole.
## Klaipėda dispute
Klaipėda (German: Memel), an important seaport in East Prussia, was detached from Germany by Article 28 of the Treaty of Versailles and was governed by the Allies according to Article 99. France assumed administration of the region while Lithuania continued to lobby for its control, claiming that it should belong to Lithuania as it had a significant Lithuanian population (see Lithuania Minor) and was that country's only access to the Baltic Sea. Poland also laid claim to the territory. As the Allies were hesitant to make a decision and it seemed that the region would remain a free state much like the Free City of Danzig, Lithuania took the initiative and organized the Klaipėda Revolt in January 1923. Soviet Russia and Germany supported the action. The region, as an autonomous territory with its own parliament (Klaipėda Parliament), was attached to Lithuania. The region covered about 2,400 square kilometres (930 sq mi) and had a population of approximately 140,000.
During the 1920s, Lithuania and Germany maintained a relatively normal relationship as they were united by anti-Polish sentiment. In January 1928, after long and difficult negotiations, Germany and Lithuania signed a border treaty, which left Klaipėda on the Lithuanian side. However, tensions began rising in the 1930s after Nazi Germany replaced the Weimar Republic. An especially tense period came in February 1934 when the Lithuanian government arrested dozens of pro-Nazi activists. In response to these arrests and trials, Germany declared a boycott of Lithuanian agricultural imports. The boycott caused an economic crisis in Suvalkija (southern Lithuania), where farmers organized violent protests. However, after the plebiscite in Saar most of the pro-Nazi prisoners received amnesty. In the wake of the amnesties, Lithuanian prestige suffered both abroad and in Klaipėda, allowing Germany to strengthen its influence in the region.
## Rising tension
In the spring of 1938 Adolf Hitler personally stated that gaining Klaipėda was one of his highest priorities, second only to gaining the Sudetenland. When Poland presented its ultimatum to Lithuania in March 1938, Germany openly declared that in the event of a military clash between Poland and Lithuania, its army would invade Lithuania to capture Klaipėda and a large portion of western Lithuania. A week after Lithuania accepted the Polish ultimatum, Germany presented an eleven-point memorandum that demanded freedom of action for pro-German activists in the region and a lessening of Lithuanian influence there. Its points were worded in a deliberately vague manner, which would enable Germany to accuse Lithuania of violations. Lithuania chose to postpone dealing with the problem, hoping that the international situation would improve. In the meantime it hoped to give the German population no reasons for complaint.
This tactic did not prove successful: pro-Nazi propaganda and protests were rampant, even among the Lithuanian population, and the local government was powerless to prevent them. The Nazis physically harassed Lithuanian organizations. On 1 November 1938 Lithuania was pressured into lifting martial law and press censorship. During the December elections to the Klaipėda Parliament, pro-German parties received 87% of votes (25 seats out of 29) in the Klaipėda territory. Dr. Ernst Neumann, the chief defendant in the 1934 trials, was released from prison in February 1938 and became the leader of Klaipėda's pro-German movement. In December he was received by Adolf Hitler, who assured him that the Klaipėda issue would be resolved by March or April 1939. Neumann and other Nazi activists claimed the right of self-determination for the region and demanded that Lithuania open negotiations over the political status of Klaipėda. The parliament was expected to vote for a return to Germany when it convened on 25 March 1939. Germany's official channels maintained silence on the issue. Germany hoped that Lithuania would voluntarily give up the troubled region, and a public stance could have disturbed the sensitive discussions it was then engaged in with Poland over an anti-Communist alliance against the Soviet Union.
## The ultimatum
Rumors had reached the Lithuanian government to the effect that Germany had specific plans to take over Klaipėda. On 12 March Foreign Minister Urbšys represented Lithuania at the coronation of Pope Pius XII in Rome. On his return to Lithuania he stopped in Berlin with the hope of clarifying the growing rumors. On 20 March Ribbentrop agreed to meet with Urbšys, but not with Kazys Škirpa, who was asked to wait in another room. The conversation lasted for about 40 minutes. Ribbentrop demanded the return of Klaipėda to Germany and threatened military action. Urbšys relayed the verbal ultimatum to the Lithuanian government. Because the ultimatum was never set down in writing and did not include a formal deadline, some historians have downplayed its importance, describing it as a "set of demands" rather than as an ultimatum. However, it was made clear that force would be used should Lithuania resist, and it was warned not to seek help from other nations. While a clear deadline was not given, Lithuania was told to make a speedy decision and that any clashes or German casualties would inevitably provoke a response from the German military.
Lithuania secretly informed the signatories of the Klaipėda Convention about these demands, since technically Lithuania could not transfer Klaipėda without the approval of the signatories. Italy and Japan supported Germany in the matter, while the United Kingdom and France expressed sympathy for Lithuania but chose not to offer any material assistance. They followed a well-publicized policy of appeasing Hitler. The UK treated the issue in the same way as it had treated the Sudeten Crisis and made no plans to assist Lithuania or the other Baltic States if they were attacked by Germany. The Soviet Union, while supporting Lithuania in principle, did not wish to disrupt its relations with Germany at that point, since it was contemplating a pact with the Nazis. Without any material international support, Lithuania had no choice but to accept the ultimatum. Lithuanian diplomacy characterized the concession as a "necessary evil" that would enable Lithuania to preserve its independence and maintained the hope that it was merely a temporary concession.
## Acceptance
At 1:00 a.m. on 23 March 1939 Urbšys and Ribbentrop signed a treaty, effective 22 March 1939, stating that Lithuania was voluntarily transferring the Klaipėda Region to Germany. The treaty comprised five articles:
> Article I: The Klaipėda Region, cut off from Germany by the Treaty of Versailles, is reunited with the German Reich, effective today.
>
> Article II: The Klaipėda Region is to be evacuated immediately by Lithuanian military and police forces. The Lithuanian Government will take care that the territory is left in orderly condition through the evacuation.
>
> Both sides will name commissioners, so far as it will prove necessary, who are able to carry out the handing over of administration not held in the hands of autonomous authorities of the Klaipėda Region.
>
> Regulations of the rest of the questions resulting from the exchange of State sovereignty, especially economic and financial questions, questions of officials as well as citizenship, are reserved for special agreements.
>
> Article III: In order to make allowance for her economic needs, a Lithuanian free-port zone will be established for Lithuania in Klaipėda. Details will be expressively regulated in accordance with directions of an enclosure attached to this agreement.
>
> Article IV: In order to strengthen their decision and to safeguard the friendly development of relations between Germany and Lithuania, both sides assume the obligation neither to proceed against the other by force nor to support an attack from a third side against one of the two sides.
>
> Article V: This agreement becomes effective upon signature. In witness, whereof, the plenipotentiaries of both sides sign this treaty, prepared double in double original in the German and in the Lithuanian languages.
>
> Berlin, March 22, 1939
## Aftermath
Before the treaty was signed, German soldiers had already entered the port of Klaipėda. Adolf Hitler, arriving on board the cruiser Deutschland, personally toured the city and gave a short speech. The armada sailing to Klaipėda included the cruiser Admiral Graf Spee, the light cruisers Nürnberg, Leipzig, and Köln, two destroyer squadrons, three torpedo boat flotillas, and one tender flotilla. At the time the Lithuanian navy had only one warship, the Prezidentas Smetona, a 580-ton converted minesweeper. While the Germans were celebrating the return of the city, European politicians expressed fears that the Free City of Danzig would be Hitler's next target.
President Antanas Smetona's unconditional acceptance of a second ultimatum in the space of a little over one year became a major source of dissatisfaction with his authoritarian rule. The German ultimatum triggered a political crisis: the passive cabinet of Vladas Mironas was replaced by a cabinet headed by General Jonas Černius. For the first time since the 1926 coup d'état, the government included members of the opposition: Leonas Bistras, of the Lithuanian Christian Democratic Party, was named Minister of Education and Jurgis Krikščiūnas, of the Lithuanian Popular Peasants' Union, was named Minister of Agriculture. As other parties were banned, Bistras and Krikščiūnas were officially billed as independent private citizens. Four generals were now members of the cabinet as well. However, even the looming international crisis did not induce Lithuanian politicians to unite, and they continued to engage in petty political disputes.
The loss of its only port to the Baltic Sea was a major blow to the Lithuanian economy. Between 70% and 80% of foreign trade passed through Klaipėda. The region, which represented only about 5% of Lithuania's territory, contained a third of its industry. Lithuania also lost its heavy investments in the port's infrastructure. About 10,000 refugees, mostly Jews, left the region and sought shelter and support from the Lithuanian government. Lithuanians doubted the fate of their country: in March–April withdrawals of deposits in banks and credit institutions totaled almost 20% of total deposits. After the loss of Klaipėda, Lithuania drifted into the German sphere of influence, especially in terms of trade. At the end of 1939, Germany accounted for 75% of Lithuanian exports and for 86% of its imports.
Germany and the Soviet Union concluded the Molotov–Ribbentrop Pact in 1939, dividing Eastern Europe into their respective spheres of influence. Lithuania was, at first, assigned to Germany. The Nazis went so far as to suggest a German–Lithuanian military alliance against Poland and promised to return the Vilnius Region, but Lithuania held to its policy of strict neutrality. After the invasion of Poland, the German–Soviet Frontier Treaty assigned Lithuania to the Soviet sphere of influence. A Soviet ultimatum in June 1940 was also accepted and saw the country annexed by the Soviet Union. | [
"## Klaipėda dispute",
"## Rising tension",
"## The ultimatum",
"## Acceptance",
"## Aftermath"
] | 2,671 | 33,522 |
3,570,728 | It Only Hurts When I'm Breathing | 1,138,635,186 | null | [
"2000s ballads",
"2002 songs",
"2004 singles",
"Country ballads",
"Mercury Nashville singles",
"Mercury Records singles",
"Shania Twain songs",
"Song recordings produced by Robert John \"Mutt\" Lange",
"Songs about heartache",
"Songs written by Robert John \"Mutt\" Lange",
"Songs written by Shania Twain"
] | "It Only Hurts When I'm Breathing" is a song recorded by Canadian singer Shania Twain. It was written by Twain and her then-husband Robert John "Mutt" Lange. It was released on February 9, 2004, as the eighth and final single from her fourth studio album Up!. Disparate to the remainder of Up!, "It Only Hurts when I'm Breathing" is a ballad that Twain labeled to be the sole heartbreak song on the album. Musically, it lies within the country pop genre while its lyrics speak of misery. The song was not included in any of Twain's tours, but she performed the song for the Up! Live in Chicago video special in 2003. The performance was also used as a promotional music video for the single.
"It Only Hurts When I'm Breathing" received mixed reviews from music critics. Commercially, the single performed well in Canada, where it peaked at number four. It was also a minor hit in the United States, peaking at number 71 on the Billboard Hot 100 and at number 18 on the Hot Country Songs chart. American Idol contestant Michael Lynche performed a cover version of the single on a Twain-themed episode for the ninth season of the show.
## Background
After collaborating on her great successes The Woman in Me (1995) and Come on Over (1997), Twain and her then-husband Robert John "Mutt" Lange decided to take a musical hiatus. The two relocated to Switzerland, settled down, and had a child, Eja, in August 2001. Twain felt content and was in a very positive state of mind, which inspired Up! (2002). She and Lange conceptualized the album to be very positive, optimistic, and uplifting; they desired to evade dark subject matters, yet still be profound through optimism. In doing so, they co-wrote every track on Up!, in which few tracks were ballads, something Twain considered a small ratio compared to the nineteen songs on the album. She explained it was not done deliberately, but influenced by her and Lange's state of mind at the time, adding, "There just didn't seem to be enough room for [ballads]". One of the ballads was "It Only Hurts when I'm Breathing", which Twain deemed necessary to come down in tempo. She said the song was very powerful and, as with each track on Up!, was significant to her. Twain said of the track, "This is the only heartbreak song on the new CD. [...] a chance for all of us to catch our breath here." "It Only Hurts when I'm Breathing" was later selected as the eighth and final single from Up!, fifth to impact the North American music market. It was released to country radio on February 9, 2004 and to adult contemporary radio on March 22, 2004. A live CD single and digital download were taken from Up! Live in Chicago, and released on March 9, 2004 with the same cover as the video album. CD singles and 7" singles were later issued by Mercury Nashville Records on March 30, 2004.
## Music video
"It Only Hurts when I'm Breathing" is one of two music videos shot from Twain's Up! Live in Chicago special, the other being "She's Not Just a Pretty Face".
## Composition
"It Only Hurts when I'm Breathing" is a ballad that lies within a fine line of country pop, most instrumentation are typical of country music, yet it does not sound distinctively country. The country "Green" version is of three minutes and nineteen seconds in length, and the pop "Red" version is of three minutes and twenty seconds in length. Paul Cognata of The Daily Campus stated, "Twain decides to deeply cross the line into pop music in her song, 'It Only Hurts when I'm Breathing.' Since there isn't any type of country-feel in it, the song sounds like a typical pop ballad that could be found on Kiss 95.7." It is set in common time and has a slow tempo of 76 beats per minute. Written in the key of D♭ major, "It Only Hurts when I'm Breathing" follows the chord progression G–Am<sub>7</sub>–F<sub>9</sub>. Twain's vocals span two octaves, from A♭<sub>3</sub> to D<sub>5</sub>. Its lyrics reflect misery and burden.
## Reception
### Critical reception
"It Only Hurts When I'm Breathing" received mixed reviews from music critics. Ron Rollins of Dayton Daily News believed the song was "catchier" under its pop format from the Red CD of Up!. Eric R. Danton of the Hartford Courant felt his heartstrings weakly tugged by "It Only Hurts when I'm Breathing", and added, "The whole endeavor feels like a calculated and spectacularly cynical attempt to make money while expending as little effort as possible." Carol Tannehill of The News-Sentinel called the song one of the hottest singles on country and pop radio at the time. Stephen Thomas Erlewine of Allmusic noted the song's absence from Twain's Greatest Hits (2004) album; however, he said it was not greatly missed. In 2004, "It Only Hurts when I'm Breathing" was listed as a "Winning Song" in the country genre by Broadcast Music Incorporated (BMI). The song was nominated for "Song of the Year" at the 2004 Canadian Country Music Association Awards, but lost to Carolyn Dawn Johnson's "Die of a Broken Heart".
### Chart performance
"It Only Hurts When I'm Breathing" debuted at number fifty-seven in mid-March 2004, and eventually peaked at number four in mid-April 2004 on the Canadian Singles Chart. On the week ending May 8, 2004, "It Only Hurts when I'm Breathing" debuted at number seventy-six on the United States' main singles chart, the Billboard Hot 100. In the succeeding week, the track jumped to its peak position at number seventy-one. It spent a total of seven weeks on the Billboard Hot 100. On the week ending February 21, 2004, "It Only Hurts when I'm Breathing" entered the US Hot Country Singles & Tracks chart at number fifty. The following week, the track ascended to number forty-three, and, after thirteen weeks on the chart, on the week ending May 15, 2004, it reached its peak at number eighteen, where it remained for three consecutive weeks. In all, the single managed to remain aboard Hot Country Singles & Tracks for twenty weeks. "It Only Hurts when I'm Breathing" also charted on the US Adult Contemporary chart, where it peaked at number sixteen on the week ending May 29, 2004.
## Live performances
Twain first performed the song as part of her setlist for an outdoor concert on July 5, 2003 at Nowlan Park in Kilkenny, Ireland. She then performed it at another concert on July 12, 2003 at Hyde Park in London, England. The singer last performed "It Only Hurts when I'm Breathing" on July 27, 2003 at a free outdoor concert held in Grant Park in Chicago, filmed for the Up! Live in Chicago (2003) concert film. The singer donned a tan, multi-patterned halter top and black, sequined wide leg trousers, and performed sitting on a stool placed at the end of the runaway. The recording of the performance at Grant Park was used as a promotional music video for the single. The song was not included on Twain's Up! Tour.
## Cover version
Contestant Michael Lynche performed a cover version of "It Only Hurts when I'm Breathing" on a Twain-themed episode of the ninth season of the singing competition American Idol, aired on April 27, 2010. Lynche performed the contemporary R&B-oriented rendition of the song sitting on the staircase of the show's stage. His performance was received well by judges Ellen DeGeneres (who compared Lynche's delivery to that of Luther Vandross), Kara DioGuardi, and Randy Jackson; judge Simon Cowell felt Lynche's song selection was poor, deeming it too feminine for him. Sitting in the audience after serving as a guest mentor, Twain herself was moved to tears listening to Lynche's rendition. Eric Ditzian of MTV News desired for the contestant to tap into his R&B and soul music roots further and concluded, "Last night's performance was hardly the stuff of Luther Vandross, as Randy Jackson and Simon Cowell maintained, but it's a comparison that Mike should take to heart." Leslie Grey Steeler of The Palm Beach Post acknowledged Lynche was usually cheesy in his performances, but favored his rendition of "It Only Hurts when I'm Breathing", saying, "I loved it" and calling it "awesome". Mary T. Kelly of Salon.com commented, "Big Mike went back to good, ole country basics and sang the song sweet, simple and pure. Tammy Tyree would have been proud." Lynche was placed in the bottom three that week, and later eliminated.
## Track listings
- Live CD / Digital Download
1. "It Only Hurts When I'm Breathing" (Live from Up! Live in Chicago) – 3:42
- CD / 7" single
1. "It Only Hurts When I'm Breathing" (Green Version) – 3:20
2. "It Only Hurts When I'm Breathing" (Red Version) – 3:19
## Charts
### Weekly charts
### Year-end charts | [
"## Background",
"## Music video",
"## Composition",
"## Reception",
"### Critical reception",
"### Chart performance",
"## Live performances",
"## Cover version",
"## Track listings",
"## Charts",
"### Weekly charts",
"### Year-end charts"
] | 2,058 | 24,725 |
1,024,093 | Washington State Route 3 | 1,084,027,478 | State highway in the U.S. state of Washington | [
"State highways in Washington (state)",
"Transportation in Kitsap County, Washington",
"Transportation in Mason County, Washington"
] | State Route 3 (SR 3) is a 59.81-mile-long (96.25 km) state highway in the U.S. state of Washington, serving the Kitsap Peninsula in Mason and Kitsap counties. The highway begins at U.S. Route 101 (US 101) south of Shelton and travels northeast onto the Kitsap Peninsula through Belfair to Gorst, where it intersects SR 16 and begins its freeway. SR 3 travels west of Bremerton, Silverdale and Poulsbo before it terminates at the eastern end of the Hood Canal Bridge, signed as SR 104. The highway is designated as a Strategic Highway Network (STRAHNET) corridor under the National Highway System as the main thoroughfare connecting both parts of Naval Base Kitsap and is also part of the Highways of Statewide Significance program.
SR 3 was established during the 1964 highway renumbering and codified in 1970 as the successor to Secondary State Highway 14 (SSH 14) from Shelton to Belfair, Primary State Highway 14 (PSH 14) from Belfair to Gorst, and PSH 21 from Gorst to the Hood Canal Bridge. PSH 21 was previously part of State Road 21 from 1915 to 1937, while PSH 14 was part of State Road 14 and the Navy Yard Highway from 1919 to 1937. The present SR 3 freeway was opened in 1968 in the Bremerton area and was extended north to Silverdale in 1973, to Bangor in 1981, and to Poulsbo in 1983.
## Route description
SR 3 begins at a diamond interchange with US 101 south of Shelton in unincorporated Mason County on the Olympic Peninsula. The highway travels north into Shelton at the end of Oakland Bay on 1st Street and crosses over a Puget Sound and Pacific Railroad line and Goldsborough Creek. SR 3 turns east on Pine Street and leaves Shelton, traveling northeast along Oakland Bay and a US Navy rail line. The highway continues north along Oakland Bay and Case Inlet past heavily forested areas to Allyn-Grapeview, where it serves as the western terminus of SR 302 at North Mason High School. SR 3 travels towards the southern end of the Hood Canal and intersects the eastern termini of SR 106 and SR 300 in Belfair. The highway continues northeast past Bremerton National Airport towards the community of Gorst in Kitsap County, where it forms the western terminus of SR 16.
SR 3 becomes a four-lane divided freeway and travels northeast along the Sinclair Inlet to an interchange with SR 304 in Navy Yard City, serving the city of Bremerton and Naval Station Bremerton. The freeway continues through western Bremerton past the diamond interchange with SR 310 and the community of Chico along Dyes Inlet. SR 3 travels west of Silverdale past the western terminus of SR 303 at the Kitsap Mall and east of Naval Submarine Base Bangor in Bangor. The freeway continues north towards Poulsbo past the termini of SR 308 and SR 305, which serve Keyport and Bainbridge Island respectively. SR 3 travels north from Poulsbo as a two-lane road towards Port Gamble and ends at the eastern approach of the Hood Canal Bridge at an intersection with SR 104.
Every year, the Washington State Department of Transportation (WSDOT) conducts a series of surveys on its highways in the state to measure traffic volume. This is expressed in terms of average annual daily traffic (AADT), which is a measure of traffic volume for any average day of the year. In 2011, WSDOT calculated that the busiest section of SR 3 was between SR 16 in Gorst and SR 304 in Navy Yard City, serving 69,000 vehicles, while the least busiest section was southwest of Allyn-Grapeview at an intersection with Grapeview Loop Road, serving 6,600 vehicles. SR 3 is designated as a STRAHNET corridor within National Highway System, connecting Naval Base Kitsap to the state highway system between Gorst and Bangor, while the rest of the highway is part of the system, which includes roadways important to the national economy, defense, and mobility. WSDOT designates the entire route of SR 3 as a Highway of Statewide Significance, which includes highways that connect major communities in the state of Washington.
## History
SR 3 follows the route of a paved section of State Road 21 between Belfair and Port Gamble on the Kitsap Peninsula that was added to the state highway system in 1915. The highway was later split between the Navy Yard Highway from Belfair to Bremerton and State Road 21 from Bremerton to Port Gamble in 1919. In 1923, the state highway system was restructured and the Navy Yard Highway was numbered as State Road 14, while State Road 21 kept its designation. The Navy Yard Highway, an unpaved highway connecting Union to Charleston, was dedicated on June 12, 1923.
During the creation of the primary and secondary state highway system in 1937, the paved State Roads 14 and 21 kept their numerical designations and became PSH 14 and PSH 21, respectively. PSH 21 was extended southwest from Bremerton on the former Navy Yard Highway to Gorst, while PSH 14 turned south at Gorst and headed towards Tacoma. A branch of PSH 14, named SSH 14A, was designated on a gravel road that connected the main highway at Belfair to US 101 in Shelton. In 1955, PSH 21 was extended southwest along PSH 14 from Gorst to Union, shortening PSH 14 to its current route as SR 16.
During the 1964 highway renumbering, a new state route system replaced the existing primary and secondary state highways and SR 3 was designated along SSH 14A, PSH 14, and PSH 21 on its present route when it was codified in 1970. Construction of the freeway section of SR 3 began in 1963 between SR 304 in Navy Yard City and Silverdale west of Bremerton and was opened in February 1968 at a cost of \$2.2 million. The freeway was extended north towards Poulsbo in late 1973, and further north to Naval Submarine Base Bangor in 1981 after the arrival of Ohio-class submarines at Bangor. The Poulsbo section was widened and extended through an interchange with SR 305 in the early 1990s. The freeway was originally intended to connect with SR 16 (itself upgraded to a freeway in the 1970s and 1980s) with a bridge across the Sinclair Inlet.
In the 2000s, WSDOT re-built the interchange between SR 3 and SR 303 in Silverdale at a cost of \$26 million, paid for by a 2003 gas tax. The new interchange, opened in November 2007, split the western terminus of SR 303 between two exits, signed as 45A and 45B, and removed a loop ramp that created turning conflicts. WSDOT began study of a Belfair bypass in 1966 and completed a provisional report in 2010 that did not recommend constructing a bypass of the community, instead opting for a project to widen the highway and add safety improvements that began work in late 2013. The project was revived later in the decade and is scheduled to be completed by 2026, carrying the new alignment of SR 3 while the existing road remains as a business route through Belfair.
## Major intersections | [
"## Route description",
"## History",
"## Major intersections"
] | 1,635 | 8,939 |
12,642,114 | 1992 Football League Cup final | 1,171,827,426 | Association football match in England | [
"1991–92 Football League",
"1992 sports events in London",
"April 1992 sports events in the United Kingdom",
"EFL Cup finals",
"Manchester United F.C. matches",
"Nottingham Forest F.C. matches"
] | The 1992 Football League Cup final was a football match played on 12 April 1992 at Wembley Stadium, London, to determine the winner of the 1991–92 Football League Cup, known as the Rumbelows Cup for sponsorship purposes. The match was contested by Manchester United and Nottingham Forest in front of a crowd of 76,810, and finished in a 1–0 victory for Manchester United. Both teams progressed through five knockout rounds of the competition to reach the final; it was Nottingham Forest's sixth final in fifteen years, four of which they had won; and Manchester United's third, they had never won the competition before.
After a cautious start from both sides, Manchester United took the lead in the fourteenth minute from a Brian McClair which went low and to the goalkeeper's left. After scoring, Manchester United allowed Nottingham Forest possession of the ball and relied on their strong defence to maintain their lead. Both teams had chances to score in the second half, but the match finished 1–0, which meant that Manchester United won the League Cup for the first time.
## Background
The Football League Cup was first held in the 1960–61 season, and in the 1991–92 season featured the 93 teams which played in the Football League, which comprised four divisions. For the second—and last—season, the competition was sponsored by Rumbelows, and promoted as the Rumbelows Cup. Manchester United had never previously won the League Cup; they had appeared in two previous finals, losing to Liverpool in 1983, and to Sheffield Wednesday in 1991. Nottingham Forest, on the other hand, had won the competition four times between 1979 and 1990, and were tied with Liverpool for the most wins in the competition.
## Route to the final
As First Division clubs, both Manchester United and Nottingham Forest entered the League Cup in the second round, which was seeded to avoid First Division teams facing each other. The competition used a combination of single and two-legged ties; the first and second rounds both featured two-legs, while the third round, fourth round and quarter-finals each comprised a single match, with replays to be played if they finished in a draw. The semi-final once again had two legs, while the final was a single match.
### Manchester United
Manchester United were drawn at home for their first leg against Second Division club Cambridge United, which they won 3–0. Ryan Giggs was involved in all three goals; he scored the first, started the move that led to Brian McClair scoring the second, and forced the corner from which Steve Bruce scored the third. In the second leg, a goal from McClair gave Manchester United a 4–0 aggregate lead early on, but poor finishing prevented them from adding more, and they won the tie 4–1 after a late goal from Cambridge United. In the third round, Manchester United beat Portsmouth 3–1; two goals from Mark Robins and one from Bryan Robson saw off the Second Division side despite a relatively even contest.
Manchester United's fourth round performance against Oldham Athletic was widely praised by journalists, opposition players and fans alike; goals from Robson and Andrei Kanchelskis gave them a 2–0 victory, and the Coventry Evening Telegraph's Martin Hamer said they "could easily have doubled their total." Manchester United drew an away fixture against Leeds United, who sat top of the First Division, in the fifth round. Leeds scored first, but Manchester United responded with three goals; Clayton Blackmore scored direct from a free-kick, then Giggs and Kanchelskis both scored to give Manchester United a 3–1 win.
Due to fixture congestion, the first leg of Manchester United's semi-final against Second Division side Middlesbrough did not take place until both legs of the other semi-final had already been played. Journalists were full of praise for both teams' goalkeepers in the first leg, which was a 0–0 draw. For the second leg, played at Manchester United's Old Trafford stadium, the pitch was described in The Daily Telegraph as a "quagmire", but the quality of the match was nonetheless praised. Manchester United opened the scoring in the first half; Lee Sharpe getting the goal after a series of passes through the midfield. Five minutes into the second half, Middlesbrough equalised, and the scores remained level at full-time. In extra time, both sides struggled with the wet conditions and mistakes gave each team opportunities to score. Ultimately, Giggs scored the only goal of the added period; a cross from Denis Irwin took a touch from Robson before Giggs scored with a left-footed volley. Manchester United won the tie 2–1 after extra time to progress to the final.
### Nottingham Forest
Like Manchester United, Nottingham Forest were drawn at home for the first leg; they faced Bolton Wanderers of the Third Division. Nottingham Forest won the first leg 4–0, with two goals from Tommy Gaynor and one each from Roy Keane and Kingsley Black. All three players scored again in the second leg, along with Teddy Sheringham, which Forest won 5–2, giving them a 9–2 aggregate victory. Keane, who scored twice, was particularly praised for his performance in the second leg by the Nottingham Evening Post's Ian Edwards. Nottingham Forest were drawn at home again for the next round, which they won 2–0 against Bristol Rovers thanks to goals from Lee Glover and Scot Gemmill.
In the fourth round, Nottingham Forest were held 0–0 by Southampton, forcing a replay. In that closely contested replay in Southampton, a solitary goal from Gemmill gave Forest a 1–0 win to see them through to the next round. In the fifth round, Nottingham Forest faced Crystal Palace away from home, and were trailing 1–0 until an 86th minute equaliser from Nigel Clough kept them in the competition; the 1–1 draw resulting in another replay. At home, Nottingham Forest conceded first again, but responded with two goals from Sheringham and one from Pearce to make it 3–1 at half-time. Crystal Palace scored another in the second half, but a penalty from Sheringham gave him a hat-trick, and Nottingham Forest progressed as 4–2 winners.
Nottingham Forest faced Tottenham Hotspur in the semi-final. Playing at home in the first leg, Forest conceded from a penalty in the 24th minute, and were still trailing at half time. In the second half, Sheringham received the ball after a deflection off a Tottenham defender and put the ball between the goalkeeper's legs to equalise for Nottingham Forest; the match finished 1–1. Forest travelled to Tottenham Hotspur's White Hart Lane for the second leg, but the match was delayed by an hour due to an Irish Republican Army (IRA) bomb found on nearby railway lines. Once the match got underway, Nottingham Forest took an early lead; Glover slotting the ball home after a run through midfield from Gemmill. Tottenham Hotspur equalised five minutes later, and the match remained 1–1 through until full-time. Keane scored the winning goal for Nottingham Forest during the first period of extra time. Gary Crosby took a corner from the right-hand side, which Keane headed past the goalkeeper to give Forest a 2–1 lead, which they held onto until the end.
## Pre-match
In the weeks leading up to the match, there was a possibility that the final would be subject to strike action from the players. The Professional Footballers' Association (PFA) was unhappy with the financial offer from the Premier League, which was being established as English football's top division from the 1992–93 season. A meeting on 1 April failed to reach an agreement, and the League Cup final was the first match the PFA threatened to disrupt with strike action. On Monday 6 April, six days before the final, a further meeting between the Premier League and the PFA resulted in Gordon Taylor, the chief executive of the PFA, announcing that due to "an improved offer from the Premier League", the League Cup final would definitely go ahead.
In the league, Manchester United entered the weekend of the final top of the First Division, and were challenging for their first League title since 1967. In contrast, Nottingham Forest were eighth in the table, and winning the League Cup was their only realistic chance of qualifying for European football. Both teams were missing key players for the match. Nottingham Forest were without their captain, Stuart Pearce, who had been injured during their 1992 Full Members' Cup final victory the previous month. They had also lost Steve Chettle and Carl Tiler to injuries. Manchester United were missing Robson, but writing for The Daily Telegraph, Colin Gibson remarked that "while Pearce might be irreplaceable for Forest, United have learnt to live without Robson."
## Match
### Summary
The final was played at Wembley Stadium in London on 12 April 1992 and kicked off at 15:00 BST. It was played in front of a crowd of 76,810, and was broadcast live in the United Kingdom on ITV, with commentary from Brian Moore and Ian St John. Nottingham Forest, by virtue of winning a coin toss before the match, played in their traditional red home kit, while Manchester United appeared in their away colours. The match was refereed by George Courtney, who had previously officiated in the 1983 Football League Cup final.
The match began with the two sides limiting each other to midfield play, preventing any significant attacking threats. Nottingham Forest had the first chance on goal in the 6th minute; after a series of passes between Clough and Keane, the latter had a shot saved by Peter Schmeichel in the Manchester United goal. In the 14th minute, United's McClair received the ball from Gary Pallister, and passed it first-time to Giggs on the left wing. Giggs cut inside and then feinted as though he were going to shoot, making the Forest defender, Des Walker, commit; instead, Giggs played a square pass to McClair, who shot low and to the goalkeeper's left to give Manchester United a 1–0 lead.
Nottingham Forest defender Gary Charles suffered a recurrence of a hamstring injury which led to him being substituted after 23 minutes; replaced by Brian Laws. Writing in the Nottingham Evening Post, the journalist Ian Edwards said that after taking their lead, Manchester United were content to allow Nottingham Forest possession of the ball, partly to protect against Forest's preferred tactic of scoring counterattacking goals. David Lacey of The Guardian described it as a "mature display of controlled aggression backed by defensive discipline" from Manchester United, while the Birmingham Post's Andy Colquhoun said that Forest's young team "broke like waves on the rocks of United's formidable defence". Forest managed one more attacking effort in the first half, when Keane, who the Nottingham Evening Post selected as their team's player of the match, passed the ball to Clough, whose shot was blocked by Bruce in the United defence.
Early in the second half, Paul Ince had three chances to score for Manchester United; he had shots blocked by Clough and Darren Wassall, and then headed an effort wide of the goal. McClair had an opportunity to score a second goal in the 71st minute, when confusion in the Forest defence between Wassall and his goalkeeper, Andy Marriott, gave the Manchester United striker what appeared to be an open goal, but the substitute Laws managed to clear it off the line to maintain the 1–0 scoreline. With 15 minutes of the match to go, Sharpe replaced Kanchelskis in the Manchester United midfield. In the final 10 to 15 minutes of the match, Forest had several chances to equalise; Clough hit a free kick into the side netting of the goal, and then had three opportunities in what the Derby Evening Telegraph's Mark Tattersall described as a "frantic series of goal-mouth scrambles." Despite this late pressure applied by Nottingham Forest, they could not equalise, and Manchester United held on to win 1–0.
### Details
## Aftermath
Manchester United subsequently lost three of their final six league matches, including one against Nottingham Forest, to finish second in the league behind Leeds United, while Nottingham Forest finished eighth. United went on to dominate English football for the next two decades, winning the Premier League 13 times between 1993 and 2013; they have subsequently won the League Cup five more times, in 2006, 2009, 2010, 2017 and 2023. In contrast, Nottingham Forest were relegated from the top division in 1992–93, and have not contested a major final since. | [
"## Background",
"## Route to the final",
"### Manchester United",
"### Nottingham Forest",
"## Pre-match",
"## Match",
"### Summary",
"### Details",
"## Aftermath"
] | 2,659 | 21,434 |
Subsets and Splits