title: Nana Saheb Peshwa II

text: As the news of advances over the British garrison spread, more rebel sepoys joined Nana Saheb. By 10 June, he was believed to be leading around twelve thousand to fifteen thousand Indian soldiers. During the first week of the siege, Nana Saheb's forces encircled the attachment, created loopholes and established firing positions from the surrounding buildings. The defending Captain John Moore retaliated and launched night-time sorties. Nana Saheb then withdrew his headquarters to Savada House (or Savada "Kothi"), which was situated around two miles away. In response to Moore's sorties, Nana Saheb decided to attempt a direct assault on the British entrenchment, but the rebel soldiers displayed a lack of enthusiasm.


title: Nana Saheb Peshwa II

text: The sniper fire and the bombardment continued until 23 June 1857 One of the driving forces of the rebellion by sepoys, was a prophecy that predicted the downfall of East India Company rule exactly one hundred years after this battle. This prompted the rebel soldiers under Nana Saheb to launch a major attack on the entrenchment on 23 June 1857. However, they were unable to gain an entry into the entrenchment by the end of the day.


title: Nana Saheb Peshwa II

text: The entrenchment had been steadily losing its soldiers and civilians to successive bombardments, sniper fire, and assaults from the attackers. It was also suffering from disease and low supplies of food, water and medicine. General Wheeler's personal morale had been low, after his son Lieutenant Gordon Wheeler was decapitated in an assault on the barracks.


title: Nana Saheb Peshwa II

text: Nana Saheb and his advisers came up with a plan to end the deadlock. On 24 June, he sent a female European prisoner, Rose Greenway, to the entrenchment to convey their message. In return for a surrender, he promised the safe passage of the Europeans to the Satichaura Ghat, a dock on the Ganges from which they could depart for Allahabad. General Wheeler rejected the offer, because it had not been signed, and there was no guarantee that the offer was made by Nana Saheb himself.


title: Nana Saheb Peshwa II

text: Next day, on 25 June, Nana Saheb sent a second note, signed by himself, through another female prisoner, Mrs.Jacobi. The entrenchment divided into two groups with different opinions—one group was in favour of continuing the defence, while the second group was willing to accept the offer. During the next day, there was no bombardment from Nana Saheb's forces. Finally, Wheeler decided to surrender, in return for a safe passage to Allahabad. After a day of preparation and burying their dead, the Europeans decided to leave for Allahabad on the morning of 27 June 1857.


title: Nana Saheb Peshwa II

text: On the morning of 27 June, Wheeler's column, consisting primarily of unarmed civilians and including more than 300 women and children, emerged from the entrenchment. Nana sent a number of carts, dolis and elephants to enable the women, the children and the sick to proceed to the river banks. The Company officers and military men were allowed to take their arms and ammunition with them, and were escorted by nearly the whole of the rebel army. They reached the Satichaura Ghat by 8 am. At this ghat, Nana Saheb had arranged around 40 boats, belonging to a boatman called Hardev Mallah, for their departure to Allahabad.


title: Nana Saheb Peshwa II

text: However, Nana Saheb's rebels had deliberately placed the boats as high in the mud as possible to delay the boarding, and the Europeans found it difficult to drift the boats away. Wheeler and his party were the first aboard and the first to manage to set their boat adrift. At this point three shots were fired from the direction of Nana Saheb's camp, which was the signal to initiate the attack. The Indian boatmen jumped overboard and started swimming toward the banks. However, according to Mowbray Thompson, one of the few survivors of the massacre, before the boatmen jumped overboard they had "contrived to secrete burning charcoal in the thatch of most of the boats", which set some of the boats ablaze. Though controversy surrounds what exactly happened next at the Satichaura Ghat, the departing Europeans were attacked by the rebel sepoys, and most of were either killed or captured.


title: Nana Saheb Peshwa II

text: Some of the Company officers later claimed that Nana had placed the boats as high in the mud as possible, on purpose to cause delay. They also claimed that Nana had previously arranged for the rebels to fire upon and kill all the Europeans. Although the East India Company later accused Nana of betrayal and murder of innocent people, no definitive evidence has ever been found to prove that Nana had pre-planned or ordered the massacre. Some historians believe that the Satichaura Ghat massacre was the result of confusion, and not of any plan implemented by Nana and his associates. Nevertheless, the fact that sniper fire from cannons pre-positioned along the riverbank was reported on the scene might suggest pre-planning.


title: Nana Saheb Peshwa II

text: Whatever the case, amid the prevailing confusion at the Satichaura Ghat, Nana's general Tatya Tope allegedly ordered the 2nd Bengal Cavalry unit and some artillery units to open fire on the Europeans. The rebel cavalry sowars moved into the water to kill the remaining Company soldiers with swords and pistols. The surviving men were killed, while women and children were captured, as Nana did not approve of their killing. Around 120 women and children were taken prisoner and escorted to Savada House, Nana Saheb's headquarters during the siege.


title: Nana Saheb Peshwa II

text: The rebel soldiers also pursued Wheeler's boat, which was slowly drifting to safer waters. After some firing, the European men on the boat decided to fly the white flag. They were escorted off the boat and taken back to Savada house. The surviving men were seated on the ground, as Nana's soldiers got ready to kill them. The women insisted that they would die with their husbands, but were pulled away. Nana granted the British chaplain Moncrieff's request to read prayers before they were killed. The British were initially wounded with the guns, and then killed with the swords. The women and children were taken to Savada House to be reunited with their remaining colleagues.


title: Nana Saheb Peshwa II

text: The surviving women and children, around 120 in number, were moved from the Savada House to Bibighar ("the House of the Ladies"), a villa-type house in Kanpur. They were later joined by some other women and children, the survivors from Wheeler's boat. Another group of women and children from Fatehgarh, and some other captive women were also confined in Bibighar. In total, there were around 200 women and children there.


title: Nana Saheb Peshwa II

text: Nana Saheb deputed a tawaif (nautch girl) called Hussaini Khanum (also known as Hussaini Begum) to care for these survivors. He decided to use these prisoners in bargaining with the East India Company. The Company forces consisting of around 1,000 British, 150 Sikh soldiers and 30 irregular cavalry had set out from Allahabad, under the command of General Henry Havelock, to retake Cawnpore and Lucknow. Havelock's forces were later joined by the forces under the command of Major Renaud and James Neil. Nana demanded that the East India Company forces under Havelock and Neil retreat to Allahabad. However, the Company forces advanced relentlessly towards Cawnpore. Nana sent an army to check their advance, and the two armies met at Fattehpore on 12 July, where General Havelock's forces emerged victorious and captured the town.


title: Nana Saheb Peshwa II

text: Nana then sent another force under the command of his brother, Bala Rao. On 15 July, the British forces under General Havelock defeated Bala Rao's army in the Battle of Aong. On 16 July, Havelock's forces started advancing to Kanpur. During the Battle of Aong, Havelock was able to capture some of the rebel soldiers, who informed him that there was an army of 5,000 rebel soldiers with 8 artillery pieces further up the road. Havelock decided to launch a flank attack on this army, but the rebel soldiers spotted the flanking manoeuvre and opened fire. The battle resulted in heavy casualties on both sides, but cleared the road to Kanpur for the Company forces.


title: Nana Saheb Peshwa II

text: By this time, it became clear that the Company forces were approaching Kanpur, and Nana's bargaining attempts had failed. Nana was informed that the British troops led by Havelock and Neil were committing violence against the Indian villagers. Nana ,and his associates , debated about what to do with the captives at Bibighar. Some of Nana's advisers had already decided to murder the captives at Bibighar, as revenge for the murders of Indians by the advancing British forces.


title: Nana Saheb Peshwa II

text: Nana Sahib, and his associates, including Tatya Tope and Azimullah Khan, debated about what to do with the captives at Bibighar. Some of Nana Sahib's advisors had already decided to kill the captives at Bibighar, as revenge for the executions of Indians by the advancing British forces. The women of Nana Sahib's household opposed the decision and went on a hunger strike, but their efforts went in vain.


title: Nana Saheb Peshwa II

text: Finally, on 15 July, Nana Saheb gave an order to murder the women and children imprisoned at Bibighar. Before their deaths, some women asked some time for their prayers, and the demand was granted. After the prayers, the captives were killed and the bodies, including some who were still alive, were thrown into a well near the Bibighar.


title: Nana Saheb Peshwa II

text: The Company forces reached Kanpur on 16 July 1857. General Havelock was informed that Saheb had taken up a position at the Ahirwa village. His forces launched an attack on Nana's forces, and emerged victorious. Nana then blew up the Kanpur magazine, abandoned the place, and retreated to Bithoor. When the British soldiers came to know about the Bibighar massacre, they indulged in retaliatory violence, including looting and burning of houses.


title: Nana Saheb Peshwa II

text: On 19 July, General Havelock resumed operations at Bithoor, though Nana Saheb had already escaped. Major Stevenson led a group of Madras Fusiliers and Sikh soldiers to Bithoor and occupied Nana Sahib's palace without any resistance. The British troops seized guns, elephants and camels, and set Nana Sahib's palace on fire. The British seized guns, elephants and camels, and set fire to Nana's palace. Very few relics of Nana Saheb are known but a silver mounted sword seems to be one of the more interesting. Many British search parties tried to capture Nana Saheb but all failed to prevent his escape. A detachment of the 7th Bengal Infantry came very near to capturing him but he managed to escape just in time. In his hurry he left this sword on the table where he had been dining. Major Templer (later Major General) of the 7th Bengal Infantry brought home the sword. In the 1920s the family loaned it to the Exeter Museum, until 1992 when it was sold at auction. The present whereabouts of this sword are unknown.


title: Nana Saheb Peshwa II

text: Nana disappeared after the Company's recapture of Kanpur. His general Tatya Tope tried to recapture Kanpur in November 1857, after gathering a large army, mainly consisting of the rebel soldiers from the Gwalior contingent. He managed to take control of all the routes west and north-west of Kanpur, but was later defeated in the Second Battle of Kanpur.


title: Nana Saheb Peshwa II

text: In September 1857, Nana was reported to have fallen to malarious fever; however, this is doubtful. Rani Laxmibai, Tatya Tope and Rao Saheb (Nana Saheb's close confidante) proclaimed Nana Saheb as their Peshwa in June 1858 at Gwalior.


title: Nana Saheb Peshwa II

text: By 1859, Nana was reported to have fled to Nepal. Perceval Landon recorded that Nana Sahib lived out his days in western Nepal, in Thapa Teli, near Ririthang, under the protection of Sir Jang Bahadur Rana, the Prime Minister of Nepal. His family also received protection, in Dhangara, eastern Nepal, in exchange for precious jewels. In February 1860, the British were informed that Nana's wives had taken refuge in Nepal, where they resided in a house close to Thapathali. Nana himself was reported to be living in the interior of Nepal. Some early government records maintained that he died in Nepal after a tiger attacked him during a hunt on 24 September 1859 but other record differs on the matter. Nana's ultimate fate was never known.


title: Nana Saheb Peshwa II

text: Venkateshwar, a Brahmin interrogated by the British, disclosed that he met Nana Saheb in Nepal in 1861. Up until 1888 there were rumours and reports that he had been captured and a number of individuals turned themselves in to the British claiming to be the aged Nana. As these reports turned out to be untrue further attempts at apprehending him were abandoned. There were also reports of him being spotted in Constantinople (Present days Istanbul).


title: Nana Saheb Peshwa II

text: Two letters and a diary retrieved in the 1970s accounted that he lived as an ascetic, Yogindra Dayanand Maharaj, in Sihor in coastal Gujarat until his death in 1903. Harshram Mehta, the Sanskrit teacher of Nana Saheb, was addressed in the two letters probably written by him in Old Marathi and in black ink dated 1856 and signed "Baloo Nana". The third document is the diary of Kalyanji Mehta, brother of Harshram. In Old Gujarati, the diary records arrival of Nana Saheb to Sihor with his colleagues after failure of rebellion. Kalyanji had raised Shridhar, son of Nana Saheb changing his name to Giridhar, as his own son and got him married in Sihori Brahmin family. His diary also records death of Nana Saheb in 1903 in Dave Sheri, Kalyanji's house in Sihor. The place still displays some articles of him. Keshavlal Mehta, son of Giridhar, recovered these documents in the 1970s and his descendants still live in town.


title: Nana Saheb Peshwa II

text: The authenticity of documents was accepted by G.N. Pant, former director of the National Museum, in 1992 but the official recognition was never given.


title: Nana Saheb Peshwa II

text: K. V. Belsare's book on the Maharashtrian saint Brahmachaitanya Gondavlekar Maharaj claims that after the lost battle, Nana Saheb went to Naimisharanya, the Naimisha Forest in the vicinity of Sitapur, Uttar Pradesh, where he met Brahmachaitanya maharaj, who assured him safety. He lived there from 1860 until his death in 1906. According to the book, he died between 30 October to 1 November 1906 and Shri Brahmachaitanya maharaj performed his last rites. The authenticity of the claims in the book is not established.


title: Nana Saheb Peshwa II

text: Initially Nanasaheb was very much upset from losing the kingdom in battle with the British. But Shri Gondavalekar Maharaj explained to him the "Wish of God". He said, "It is very sad that Nanasaheb had to lose the battle and the kingdom in such a tragic way, but fighting with the British is totally different than fighting with Mughals. People from the middle class who know the British language will lead the next freedom war against British. Soon they will come into the picture. Your role as King or warrior has finished, and now you need to focus on the 'internal war'." Initially it was very difficult for him to accept this fact, but slowly, Nanasaheb accepted this and made progress on the path to God.


title: Nana Saheb Peshwa II

text: After the independence of India in 1947, Nana was hailed as a freedom fighter, and the Nana Rao Park in Kanpur was constructed in honour of Nana and his brother, Bala Rao.


title: Vitoria-Gasteiz

text: Vitoria-Gasteiz (; ), also alternatively spelled as Vittoria in old English-language sources, is the seat of government and the capital city of the Basque Country and of the province of Álava in northern Spain. It holds the autonomous community's House of Parliament, the headquarters of the Government, and the Lehendakari's (Prime Minister's) official residency. The municipality—which comprises not only the city but also the mainly agricultural lands of 63 villages around—is the largest in the Basque Country, with a total area of , and it has a population of 253,093 (January 2021). The dwellers of Vitoria-Gasteiz are called "vitorianos" or "gasteiztarrak", while traditionally they are dubbed "babazorros" (Basque for 'bean sacks').


title: Vitoria-Gasteiz

text: Vitoria-Gasteiz is a dynamic city with strengths in healthcare, aeronautics, the automotive industry, and viticulture. It is consistently ranked as one of the 5 best places to live in Spain, ranking highly in quality of life and business opportunities, it is the first Spanish municipality to be awarded the title of European Green Capital (in 2012) and it has been also recognized by the UN with the Global Green City Award (in 2019). The old town has some of the best preserved medieval streets and plazas in the region and it is one of very few cities with two cathedrals. The city also holds well known festivals such as the Azkena rock festival, FesTVal, Vitoria-Gasteiz jazz festival, and the Virgen Blanca Festivities.


title: Vitoria-Gasteiz

text: Vitoria-Gasteiz's vicinity is home to acclaimed wineries such as Ysios, designed by world-renowned architect Santiago Calatrava, and Marqués de Riscal, by Frank Gehry. Relevant heritage sites including the Neolithic remains of , Sorginetxe and La chabola de la Hechicera; Iron Age remains such as the settlements of Lastra and Buradón; antique remains such as the settlement of La Hoya and the salt valley of Añana; and several medieval fortresses including the Tower of Mendoza and the Tower of Varona.


title: Vitoria-Gasteiz

text: Ludwig van Beethoven dedicated his Opus 91, often called the "Battle of Vitoria" or "Wellington's Victory", to one of the most famous events of the Napoleonic Wars: the Battle of Vitoria, in which a Spanish, Portuguese and British army under the command of General the Duke of Wellington broke the French army and nearly captured the puppet king Joseph Bonaparte. It was a pivotal point in the Peninsular War, and a precursor to the expulsion of the French army from Spain. A memorial statue can be seen today in Virgen Blanca Square.


title: Vitoria-Gasteiz

text: The official name of Vitoria-Gasteiz is a compound name of its traditional names in and , respectively. By inhabitants, it is still generally referred to as either "Vitoria" or "Gasteiz", depending on the language spoken. More rarely, it may be referred to by Basque speakers as "Vitorixe", a Basque form of the Spanish name.


title: Vitoria-Gasteiz

text: In 581 AD, the Visigoth king Liuvigild founded the city of Victoriacum, trying to emulate the Roman foundations, as a celebration of the victory against the Vascones near what is assumed to be the hill occupied by the primitive village of Gasteiz. This however is not sufficiently proven, and some historians and experts believe that Victoriacum was located not on the site of present-day Vitoria-Gasteiz but nearby. Several possible locations have been proposed, the foremost of which is the late Roman military camp of Iruña-Veleia (cf. J.M. Lacarra). Veleia is located some 11 km north of modern Vitoria, on the banks of the same river. However, modern archeological studies of the site suggest that Veleia was last inhabited c.5th century AD, and archeologists are still to find a 6th-century visigothic resettlement in the site. Another theory has suggested that Victoriacum was located at the foot of Mount Gorbea where there is a village called Vitoriano. The town of Armentia, nowadays in the outskirts of Vitoria, has also been proposed as a possible location of Victoriacum. In either case, Victoriacum vanishes from history shortly after its foundation.


title: Vitoria-Gasteiz

text: In 1181, Sancho the Wise, King of Navarre founded the town of "Nova Victoria" as a defensive outpost on top of a hill at the site of the previous settlement of Gasteiz. The existence of "Gastehiz", apparently inhabited by vasconic people, can be traced back to the lower Middle Ages; it is certain that by the 11th century, prior to the foundation of "Nova Victoria", the settlement was already walled. It is assumed that Sancho the Wise gave the new city its name in memory of the old settlement of Victoriacum, which must had long since been abandoned. In 1199, the town was besieged for nine months and eventually captured by the troops of Alfonso VIII of Castile, who annexed the town to the Kingdom of Castile. The town was progressively enlarged and in 1431 it was granted a city charter by King Juan II of Castile. In 1463, it was one of the five founding "villas" of the Brotherhood of Álava alongside Sajazarra, Miranda de Ebro, Pancorbo and Salvatierra/Agurain.


title: Vitoria-Gasteiz

text: The Battle of Vitoria of the Peninsular War occurred near Vitoria-Gasteiz along the river Zadorra on 21 June 1813. An allied British, Portuguese, and Spanish army under General the Marquess of Wellington broke the French army under Joseph Bonaparte and Marshal Jean-Baptiste Jourdan. The victory assured the eventual end of French control in Spain. There is a monument commemorating this battle in the main square of the city known as the Monument to Independence.


title: Vitoria-Gasteiz

text: When news came to Vienna in late July of that year, Johann Nepomuk Mälzel commissioned Ludwig van Beethoven to compose a symphony, the op. 91 Wellingtons Sieg oder die Schlacht bei Vittoria (Wellington's Victory, or the Battle of Vitoria) or "Siegessymphonie".


title: Vitoria-Gasteiz

text: Work began on the Institute for Middle Education in 1843, with classes beginning during the 1853–54 academic year. It is now current headquarters of the Basque Parliament and formerly the convent of Santa Clara. The Free University opened in the wake of the revolution of 1868. The university operated from 1869, to just prior to the 1873–1874 term, largely because of the second Carlist War. Some of its most notable academics were Ricardo Becerro de Bengoa, Julián Apraiz and Federico Baraibar. The latter was also among the first teachers of Basque in Vitoria-Gasteiz as an off-syllabus subject.


title: Vitoria-Gasteiz

text: At the start of the Spanish Civil War Álava and Vitoria were easily captured by the rebel Nationalists led by General Angel García Benítez, assisted by Colonel Camilo Alonso Vega. Vitoria was captured on 19 July 1936. In November 1936 an attempt by Republicans to retake Vitoria was thwarted after being spotted by Nationalist reconnaissance aircraft. The 1937 Nationalist campaign in Vizcaya was supported by 80 German aircraft based at Vitoria, where the Condor Legion fighter wing was concentrated.


title: Vitoria-Gasteiz

text: During the Spanish transition to democracy, the Church of St. Francis of Assisi was the scene of a police shooting on March 3, 1976 during a peaceful labour assembly. Under the orders of Interior Minister Manuel Fraga, the police shot tear-gas into the church where 5,000 demonstrators and others had reunited, firing on them as they struggled their way out of the religious temple. It resulted in five dead and over one hundred wounded by gunshot.


title: Vitoria-Gasteiz

text: On 20 May 1980, by decision of the Basque Parliament, Vitoria-Gasteiz became the place of the common institutions of the Basque Autonomous Community.


title: Vitoria-Gasteiz

text: Vitoria-Gasteiz has an oceanic climate (Köppen climate classification: "Cfb"). Winters are much cooler than in lowland coastal areas, whilst summers are similar in terms of high temperatures, with cool nights due to the elevation. Summers show a significant influence of mediterranean precipitation patterns, but enough precipitation usually occurs to remain marine in nature. Sunshine levels are low by Spanish standards and the climate is humid year-round.


title: Vitoria-Gasteiz

text: The municipality of Vitoria has subsumed a number of rural villages, which are preserved as "concejos", retaining a certain degree of administrative autonomy.


title: Vitoria-Gasteiz

text: In 2019, Gorka Urturan (EAJ-PNV), was re-elected to a four-year term as Mayor in coalition with the PSOE. The current municipal council composition is as follows:


title: Vitoria-Gasteiz

text: The economy of Vitoria-Gasteiz is diverse, and many manufacturing companies and logistic centers have operations there, including Mercedes-Benz, Michelin, Gamesa, and Heraclio Fournier, the latter being headquartered there. The city is often ranked as one with the highest standard of living among all cities in Spain, and first as to green areas and cultural places per capita.


title: Vitoria-Gasteiz

text: The "Andre Maria Zuriaren jaiak/Fiestas de la Virgen Blanca" festival is celebrated every year from the 4th to the 9th of August in honour of the patron saint of the city, and features a programme of special events, activities and free open-air concerts.


title: Vitoria-Gasteiz

text: The liberal arts section of the University of the Basque Country is based in the south part of the city. Focusing on history and linguistics, the Álava campus is also home of the Faculty of Pharmacy, as well as some other technical, teaching and business related degrees. Its origins date back to 1847 when the first "Escuela Normal de Maestros de Álava" was established. A number of other colleges and faculties were adopted in 1978 by the emerging University of the Basque Country.


title: Vitoria-Gasteiz

text: European University Gasteiz, a private initiative with a focus on health and sport sciences and new technologies, opened in 2022 in the district of Salburua, after receiving official recognition from the Basque Parliament.


title: Vitoria-Gasteiz

text: In the urban area of Vitoria-Gasteiz there is modern and accessible-for-all public transport, in the form of trams and city buses.


title: Vitoria-Gasteiz

text: By road: Vitoria-Gasteiz is connected both with the rest of the Basque capital and with Madrid, because the city is a step on the N-1/A-1. There are two motorways in their municipality and a future motorway service: The N-1 Madrid-Irun, the N-622 Vitoria-Altube and its connection with the AP-68 Logroño-Bilbao, and as of the end of 2009, the new AP-1 between Vitoria and Eibar, an attempt to alleviate the problems caused by congested traffic on the N-1/A-1.


title: Vitoria-Gasteiz

text: Vitoria-Gasteiz railway station is one of the main stops on the Madrid–Hendaye railway. Half a dozen trains each day link the city with Madrid, using Alvia trains on the AVE infrastructure to reach Madrid in 3 hours 43 minutes. There are also connections to Paris, Barcelona, Lisbon and Bordeaux. There is a complete lack of rail services to Andalusia and no direct rail link with Bilbao.


title: Vitoria-Gasteiz

text: The Basque Y high-speed rail network is planned to connect Vitoria-Gasteiz with the French border, San Sebastián and Bilbao within 35 minutes. However, work on this project has been slow and there is no date for its inaugural run.


title: Vitoria-Gasteiz

text: The Vitoria Airport is 4th in Spain in cargo traffic. Almost all passenger flights use Bilbao Airport (50 minutes away by car), which is the 2nd most important base for Vueling, with the second highest number of destinations offered and 4 million passengers traffic.


title: Vitoria-Gasteiz

text: From an urban point of view, Vitoria-Gasteiz is a mid-sized city, the line of which is adapted to the traditions of each historical moment. The medieval town is set in almond-shape around the hill foundation, which by its privileged position as the only elevation in the plain of Álava, became a defensive stronghold coveted by the kingdoms of Navarre and Castilla during the 11th and 12th centuries. The walled enclosure was built prior to the war between Castile and Navarre in the 11th century to defend the village. The defensive walls of old Gasteiz were built between the years 1050 and 1100. Because of that first defensive role, its narrow streets surrounding the oval resulted in compact rows of houses parallel both to each other and the medieval walls (of which only some sections and gates are preserved). Between the years 1854 and 1856, an epidemic of cholera served as the excuse for tearing down the gates, fortresses which provided access to the streets Run (fort of Nanclares), Shoe (fort of Soto) and Blacksmith (fort of Abendaño) and which served to protect every neighbourhood association. The entrance of the current "Plaza de la Virgen Blanca" was the site of Santa Clara, which was joined by the wall at the Convent of San Antonio. In the 19th century, in recognition that the city was small, an expansion was planned in the neoclassical style, and little by little planning for the city has given Vitoria-Gasteiz its current form.


title: Vitoria-Gasteiz

text: The Old Quarter ("Alde Zaharra"/"Casco Viejo"), has many architectural jewels such as Bendaña Palace, the Fournier Museum of cards (erected in 1525 by Juan Lopez de Arrieta, on the site occupied before by the defensive tower built by Maeztu). The Ezkoriatza-Eskibel Palace, built by Claudio de Arciniega in the 15th century. The Villa Suso, where Martin Salinas, ambassador of Charles V dwelt (16th century). And the greatest historical treasure of Vitoria-Gasteiz: the Cathedral of Santa Maria (Old Cathedral).


title: Vitoria-Gasteiz

text: The history of the Cathedral of Santa María (commonly known as "Old Cathedral"), is itself a synthesis of the history of Vitoria-Gasteiz. Built on the cemetery of the primitive village of Gasteiz (which today can be accessed through the excavations), the church of Santa María collapsed with the fire of 1202, and Alfonso VIII of Castile (who had conquered the city just 2 years earlier), ordered that it be rebuilt at the site of a former church that was to serve two very different purposes: regular religious services and weapon storage. Thus was born the Cathedral of Santa Maria, a fortress-like church that served as the entrance to the city. The project changed with the centuries, so that each modification was made without taking into account the previous. This was the case in the 15th century (when the church became collegiate), and finally in the 1960s, when it was decided to reverse the previous works of strengthening of the external walls and widen the windows, made purely for aesthetic reasons, which had severely damaged the stability of the building. Today, the cathedral is open again, and offers visitors guided trips exposing the recent archaeological findings. It has become one of the main attractions of Vitoria-Gasteiz. Ken Follett, author of "The Pillars of the Earth", said after his stay in the city that Santa Maria was one of the three most interesting cathedrals of the world.


title: Vitoria-Gasteiz

text: From the Middle Ages to the 18th century, the population of Vitoria-Gasteiz and the layout of its streets remained almost unchanged. And it was not until the late 18th century, when growth required the expansion of the city outside. To solve the problem of the difference in height between the original kernel on the hill, and the plain below, the arches were erected and the Plaza De España or Plaza Nueva was built, which soften the transition from the old city to the 19th century neoclassical expansion of wide streets and gardens, the greatest examples of which are seen in the "La Florida" Park, and the "Andre Maria Zuriaren Enparantza/Plaza de la Virgen Blanca", with its façade pulled viewpoints.


title: Vitoria-Gasteiz

text: Finally, the new quarters of Vitoria-Gasteiz were built, in accordance with a development plan favouring parks, recreation areas and quality of life. While aiming to maintain the identity of the city, and drawing on the district of San Martín, the need to accommodate the growing population has led the city to concentrate its growth in the new neighbourhoods of Lakua, Salburua and Zabalgan. The city of Vitoria-Gasteiz has received several international awards for its urban development. Also worth mentioning is the green ring, a network of parks and green spaces around the city, destined to be the lung of the future Vitoria-Gasteiz, and link the city with the countryside. This ring is formed of the parks Salburua, Zabalgana, Armentia, Alegria river, Gamarra, Abetxuko and Atxa-Landaberde.


title: Vitoria-Gasteiz

text: Vitoria-Gasteiz held the title of European Green Capital in 2012 due to the high proportion of green public areas, ensuring that the entire population lives within 300m of an open green space, its biodiversity and ecosystems services, as well as for the city's green policies.


title: Lincoln Aviator

text: The Lincoln Aviator is a mid-size luxury SUV with three-row seating marketed and sold by the Lincoln brand of Ford Motor Company. One of four SUVs offered by Lincoln, the Aviator is currently in its second generation, slotted between the Lincoln Nautilus and Lincoln Navigator in size.


title: Lincoln Aviator

text: The first generation of the Aviator was produced from the 2003 to 2005 model years as a rebadged version of the Mercury Mountaineer (itself based on the Ford Explorer); following the Lincoln Versailles and Lincoln Blackwood pickup truck, the Aviator was one of the shortest-produced vehicles ever sold by Lincoln. For the 2007 model year, Lincoln expanded its use of crossover SUVs; the five-passenger MKX offered a similar exterior footprint, while the MKT (introduced in 2009) offered the three-row seating of the Aviator.


title: Lincoln Aviator

text: For the 2020 model year, the Aviator made its return to the Lincoln model line (again based on the Ford Explorer). For the first time in a Lincoln-brand vehicle, the Aviator is offered as a plug-in hybrid, along with Android Auto.


title: Lincoln Aviator

text: The first-generation Aviator was assembled at the now-closed St. Louis Assembly in Hazelwood, Missouri, alongside the Explorer and Mountaineer. The second-generation Aviator is assembled at Chicago Assembly in Chicago, Illinois alongside the Explorer and the Ford Police Interceptor Utility.


title: Lincoln Aviator

text: The Aviator was launched for the 2003 model year, slotted below the Navigator. As with the Explorer and Mountaineer, a three-row seating configuration was standard; in contrast to the Explorer and Mountaineer, a six-passenger configuration was standard, with bucket seats and a center console in the second row (a second-row bench seat was available as a no-cost option).


title: Lincoln Aviator

text: Alongside the choice of four-wheel drive (4WD) configuration and towing packages, the Aviator was offered with relatively few options. In addition to all the standard features, options included heated/cooled front bucket seats, xenon (HID) headlights, 17-inch chrome wheels, and a DVD-based navigation system. These options were late availability in 2003 on the premium model and 2004 ("Ultimate"), 2005 ("Elite"). Shared with the Mountaineer, the Aviator was equipped with dual front/side airbags, side-curtain airbags, and stability and traction control.


title: Lincoln Aviator

text: Sharing its chassis with the third-generation Explorer, the Aviator is derived from the body-on-frame Ford U1 platform. Sharing its wheelbase with the Explorer/Mountaineer, the Aviator is fitted with four-wheel independent suspension.


title: Lincoln Aviator

text: A standard towing package was fitted to all 4WD Aviators with a heavy-duty towing package optional on either rear-wheel drive (RWD) or 4WD models.


title: Lincoln Aviator

text: In place of the SOHC two-valve version of the 4.6 L "Modular" V8 shared with the Explorer/Mountaineer and other Ford trucks, the Aviator was fitted with the DOHC four-valve version of the engine, shared with the Mustang Mach 1 and Marauder.


title: Lincoln Aviator

text: Producing and of torque, the DOHC V8 engine in the Aviator came with two more horsepower than the 5.4-L V8 in the Navigator (though with less of torque). As with the Explorer/Mountaineer, rear-wheel drive was standard, with Lincoln offering all-wheel drive as an option; all versions were equipped with a five-speed "5R55S" overdrive automatic


title: Lincoln Aviator

text: As with the Mountaineer, the Aviator derived its body construction from the third-generation Explorer, sharing its body structure, doors, and roofline with both model lines. The Aviator adopts a number of styling cues from the second-generation Navigator, which gave it the nickname "Baby Navigator", with visually similar front and rear fasciae, lower door panels/running boards, grilles, and headlamps, and license-plate surrounds. The Aviator was styled with a Lincoln-specific dashboard, adopting a design nearly identical to the Navigator. Styled similar to later-1960s Lincolns, the rectangular-designed dashboard of both models featured an instrument cluster with electroluminescent gauges and needles. The primary visual difference between an Aviator and a Navigator is the lettering on the radio cover panel; an Aviator is lettered "LINCOLN", with its Navigator counterpart lettered "NAVIGATOR". As with the Navigator, the Aviator was given model-specific seats and leather, with American walnut wood trim on the doors and steering wheel.


title: Lincoln Aviator

text: At its 2002 launch, the Aviator followed the trim nomenclature of the LS and Navigator, with a "Luxury" base trim and "Premium" top-level trim. For 2004, the "Premium" trim was renamed "Ultimate", matching the Navigator and Town Car. For 2005, the "Luxury" trim became the sole offering, with previous content remaining available as stand-alone options, including a rear-seat DVD player. An "Elite" option package was offered, which bundled all features of the "Premium"/"Ultimate" trims; the package offered a DVD-based navigation system.


title: Lincoln Aviator

text: To commemorate the 100th anniversary of the Wright Brothers' 1903 flight at Kitty Hawk, North Carolina, and the 100th anniversary of Ford Motor Company, Lincoln created a "Kitty Hawk" limited edition of the Aviator; it was the official vehicle of the 2003 EAA Countdown to Kitty Hawk. Along with special Kitty Hawk badging and trim, the limited-edition vehicles were fitted with special wood trim, which is mink Zebrano, argent painted and chrome grille, and a rear spoiler, chrome exhaust tip, chrome wheels, xenon (HID) headlamps, black premium leather heated/cooled seats with Kitty Hawk logo embossed on front seatbacks, black carpet floor mats with stitched Kitty Hawk logo, available only in black exterior color.


title: Lincoln Aviator

text: Lincoln played up the similarity to the Navigator full-size SUV with magazine ads that read, "Imitation is the sincerest form of flattery. Especially when it's yourself you're imitating." The Aviator seemed to have been met with relatively positive press coverage.


title: Lincoln Aviator

text: While the Aviator's styling borrowed cues from its big brother, the Navigator, it also looked similar to the very widespread Explorer with which it shared the platform. Also working against the Aviator was the fact that it was priced similar to the larger and relatively popular Expedition. "Car and Driver" said in a comparison test, in which the Aviator tied for fifth place, that only the car's high price and lack of certain features and no low range with the 4WD model held it out of contention for the top spots.


title: Lincoln Aviator

text: Coinciding with the model cycle of the Ford Explorer, the first-generation Lincoln Aviator was discontinued after the 2005 model year, with the final vehicle produced by St. Louis Assembly on August 19, 2005. At the 2004 Detroit Auto Show, Lincoln previewed an intended second generation of the Aviator. In a break from the Explorer/Mountaineer, the model line was shifting its design from a three-row SUV to a two-row crossover SUV, becoming a Lincoln counterpart of the Ford Edge CUV. The second-generation Aviator was to skip the 2006 model year entirely, released as an early 2007 vehicle.


title: Lincoln Aviator

text: During 2007, Lincoln phased in a rebranding of its model line, adopting an "MK" model nomenclature for all vehicles (with the exception of the Navigator and the Town Car). The Aviator nameplate was dropped, becoming the Lincoln MKX (X= crossover); based on the Ford CD3 platform, the production MKX served as a counterpart of the Ford Edge.


title: Lincoln Aviator

text: At the 2018 New York Auto Show, Lincoln unveiled a prototype version of its planned second-generation Aviator, slated to enter production in 2019. While not officially announced as a replacement for the MKT, the Aviator is marketed above the Nautilus and below the standard-wheelbase Navigator.


title: Lincoln Aviator

text: A more detailed production was later introduced at the Los Angeles Auto Show on November 28, 2018. Lincoln confirmed that the Aviator was to go on sale in the summer of 2019 as a 2020 model in North America and China afterward. Lincoln notes that it will be marketed as a midsized SUV.


title: Lincoln Aviator

text: With and of torque and all of the power and torque coming from a 3.0-liter twin-turbocharged V6 with a hybrid system, the Aviator Hybrid's output makes it on par with likes of other midsized performance SUVs such as the BMW X5 xDrive 50i ( and ), and the Porsche Cayenne E-Hybrid ( and ).


title: Lincoln Aviator

text: The 2018 Aviator prototype marked the debut of an all-new vehicle platform for Ford Motor Company; while the vehicle is RWD, the architecture is designed for multiple powertrain layouts, including all-wheel drive (AWD) and front-wheel drive (FWD). The second-generation Aviator shares its platform architecture with the sixth-generation Explorer. While again mechanically related to the Explorer, the Aviator is to be given its own body design. Adopting design cues from the Continental and Navigator, the Aviator adopted conservative exterior styling, to contrast from a "visual attack" (seen on competing vehicles).


title: Lincoln Aviator

text: No specific engine or transmission details were announced as part of the unveiling; the production Aviator will offer plug-in hybrid (PHEV) capability as an option, the first Lincoln vehicle to do so.


title: Lincoln Aviator

text: Making their way into the production vehicle, several technological features made their debut on the 2018 prototype Aviator. Tying the vehicle camera system with the continuously controlled dampers, "Suspension Preview Technology" looks at the road ahead for surface irregularities (i.e., potholes), preparing the suspension for impact and its effect on vehicle ride. "Phone as a Key" allows an Aviator to be driven without keys; the technology allows the smartphone of the owner to serve as the vehicle key fob, with the door-mounted keyless entry keypad allowing access in the event of phone battery failure (the interior is designed with wireless charging for smartphones).


title: Lincoln Aviator

text: A number of safety technology features are included, with "Lincoln CoPilot360" packaging automatic emergency braking with pedestrian detection, a blind-spot information system with cross-traffic alert, lane-keeping system, lane centering, reverse camera, and auto high-beams. "Reverse Brake Assist" applies the brakes if the vehicle detects an object when the transmission is in reverse.


title: Lincoln Aviator

text: Lincoln designers worked with the Detroit Symphony Orchestra to compose 25 unique sound effects to be used for the door chime and other indicator alerts for the Aviator.


title: Fun Home (musical)

text: Fun Home is a musical theatre adaptation of Alison Bechdel's 2006 graphic memoir of the same name, with music by Jeanine Tesori, and book and lyrics by Lisa Kron. The story concerns Bechdel's discovery of her own sexuality, her relationship with her closeted gay father, and her attempts to unlock the mysteries surrounding his life. It is the first Broadway musical with a lesbian protagonist. It is told in a series of non-linear vignettes connected by narration provided by the adult Alison character.


title: Fun Home (musical)

text: The musical was developed through several readings and performances, including at the Ojai Playwrights Conference in 2009 and at the Sundance Theatre Lab and The Public Theater's Public Lab in 2012. It opened Off-Broadway at the Public Theater in September 2013 to positive reviews. Its run was extended several times, until January 2014. The Public Theater production of "Fun Home" was nominated for nine Lucille Lortel Awards (winning three, including Outstanding Musical), two Obie Awards and eight Drama Desk Awards, among others. The musical was a finalist for the 2014 Pulitzer Prize for Drama.


title: Fun Home (musical)

text: The original Broadway production began previews at the Circle in the Square Theatre in March 2015 and opened in April 2015. It was nominated for twelve Tony Awards, winning five, including Best Musical, and its cast album received a nomination for the 2016 Grammy Award for Best Musical Theater Album. The production closed on September 10, 2016. A US national tour and foreign productions followed.


title: Fun Home (musical)

text: Writer/artist Alison Bechdel's book "Fun Home", a memoir in graphic novel format, was published in 2006 to critical acclaim. Its subject is Alison Bechdel's coming of age, with particular emphasis on her relationship to her father, Bruce. Bechdel's coming out as a lesbian is complicated by the revelation that Bruce was a closeted homosexual whose extra-marital affairs included underage males. Four months after Bechdel comes out to her parents, Bruce is killed by an oncoming truck; although the evidence is equivocal, Bechdel concludes that he committed suicide.


title: Fun Home (musical)

text: Bechdel's book was adapted into a musical with book and lyrics by Lisa Kron and music by Jeanine Tesori. Writing in "Slate", June Thomas called it "the first mainstream musical about a young lesbian". The adaptation was developed over the course of five years. It was first workshopped at the Ojai Playwrights Conference in August 2009. A staged reading was performed at The Public Theater in 2011. (Of the cast of that staged reading, only Judy Kuhn and Beth Malone continued in their roles to the full Off-Broadway production.) The musical had another workshop as part of the Sundance Institute's Theater Lab in July 2012, featuring Raul Esparza. Following that it ran for three weeks as part of the Public Theater's Public Lab series in October and November 2012. On April 8, 2013, musical selections from the show were performed by Maggie Gyllenhaal, Judy Kuhn, David Hyde Pierce and others at an event for the Sundance Institute. A final Public Theater workshop was held in May 2013.


title: Fun Home (musical)

text: The musical's development process entailed extensive changes and rewrites. Beth Malone said that the original workshop script "doesn't resemble this current play at all". In early versions, the production was structured around Bechdel's drawings, but the creators later removed most of this element, save for one image of Bruce and young Alison which is used at the musical's conclusion. Revisions continued through the preview period of the Off-Broadway production, requiring the actors to perform new material every night. Bechdel did not participate in the musical's creation. She expected her story to seem artificial and distant on stage, but she came to feel that the musical had the opposite effect, bringing the "emotional heart" of the story closer than even her book did.


title: Fun Home (musical)

text: As she works on her memoir in the present day, successful middle-aged cartoonist Alison Bechdel (Alison) recalls two time periods in her life. The first is her childhood, around age 10 (Small Alison), when she struggles against her father Bruce's obsessive demands and begins to identify her inchoate sexuality. The second is her first year in college (Medium Alison), when she begins her first relationship and comes out of the closet as a lesbian.


title: Fun Home (musical)

text: Alison remembers herself, as a child, demanding that her father Bruce play "airplane" with her, while he sorts through a box of junk and valuables he has salvaged from a barn ("It All Comes Back"). Bruce tells the family that a visitor from the local historical society is coming to see their ornate Victorian home that he has restored, and his wife Helen prepares the house to Bruce's demanding aesthetic standard ("Welcome to Our House on Maple Avenue"). In a phone call with her father and a journal entry, Medium Alison expresses her anxiety about starting college ("Not Too Bad"). At the Bechdel Funeral Home, Small Alison and her brothers John and Christian perform an imaginary advertisement for the funeral home ("Come to the Fun Home"). Medium Alison hesitates outside the door of the college's Gay Union, and is flummoxed when she meets Joan, a confident young lesbian. Bruce invites Roy, a young man whom he has hired to do yard work, into the house. Bruce begins to seduce Roy in the library while Helen is playing the piano upstairs, trying her best to ignore it ("Helen's Etude").


title: Fun Home (musical)

text: Medium Alison writes a letter to her parents about college life but does not mention Joan or her recent realization that she is a lesbian ("Thanks for the Care Package"). Bruce orders Small Alison to put on a dress, but she would rather wear jeans. Bruce tells her that the other children would laugh at her; she reluctantly obeys him ("Party Dress"). Medium Alison proudly tells Joan that she has written a letter to her parents telling them that she is a lesbian, but begins to second-guess herself until Joan kisses her. That night, she is delirious with joy after having had sex with Joan and finally discovering her sexuality ("Changing My Major").


title: Fun Home (musical)

text: Alison considers the connection between her coming out and her father's death. Small Alison has a homework assignment to draw a map of places her family has been to, but Bruce aggressively takes over, drawing it the way he thinks it should look. Alison realizes that despite having traveled widely, her father's place of birth, life, work and death can all be placed in a small circle in Beech Creek, Pennsylvania ("Maps"). Bruce offers a ride and a beer to an underage boy, and it is later implied that they had a sexual encounter. Medium Alison writes to her parents, asking for a response to her coming-out letter. Small Alison watches "The Partridge Family", but Bruce angrily switches it off. Small Alison talks to him and finds out that he is going to see a psychiatrist, but he is ambiguous about the reason. Alison expresses annoyance that he lied to her; the reason he was going was because he was arrested for what he did to the underage boy. Helen attempts to reassure Small Alison that the psychiatrist will help her father, but she too refuses to elaborate. Bruce starts a vicious argument with Helen and breaks several of her possessions along with some library books. Small Alison fantasizes about her family as the happy family singing together on television ("Raincoat of Love").


title: Fun Home (musical)

text: Alison remembers a time when Bruce took her and her brothers on a trip to New York City. After a long day, Small Alison, Christian and John settle into sleeping bags. Small Alison wakes up and catches Bruce sneaking out. Bruce sings her a lullaby ("Pony Girl"). He reassures his daughter that he's just going out for a paper, but Alison realizes he was probably going cruising. Medium Alison is angered by a noncommittal letter from Bruce responding to her coming out. At a luncheonette with her father, Small Alison notices a butch delivery woman and feels an inexplicable kinship with her ("Ring of Keys").


title: Fun Home (musical)

text: Medium Alison calls home to demand a better response from her parents and is astonished when her mother reveals that her father has had sexual relationships with men and boys. Alison explores the tensions her family was under at this time and watches a heated argument between her parents. Medium Alison returns home for vacation with Joan. Helen confesses to Medium Alison her troubled and turbulent life with Bruce ("Days and Days"). Medium Alison, Joan and Bruce have an unexpectedly pleasant evening around the piano. Bruce asks Alison if she'd like to go for a drive, and (adult) Alison realizes that Medium Alison is gone; she joins her father in the car, breaking the boundaries of time. On the drive, she and Bruce struggle to express themselves to each other ("Telephone Wire").


title: Fun Home (musical)

text: Bruce, maniacally engaged in a new restoration project, tries and fails to find a way to hold his life together. He steps in front of a truck and is killed ("Edges of the World"). Alison, newly reconciled to her past, remembers and draws a moment of perfect balance: playing "airplane" with her father, while reminiscing about the past with the other Alisons ("Flying Away").


title: Fun Home (musical)

text: "Fun Home" premiered Off-Broadway at The Public Theater in previews on September 30, 2013, and opened officially on October 22, 2013. Originally scheduled to run through November 3, 2013, the run was extended several times, and the musical closed on January 12, 2014. The production was directed by Sam Gold, with sets and costumes by David Zinn, lighting by Ben Stanton, projections by Jim Findlay and Jeff Sugg, and choreography by Danny Mefford. In response to a controversy in which the legislature of South Carolina attempted to financially punish the College of Charleston for choosing the original graphic novel of "Fun Home" as a reading selection for incoming freshmen, the off-Broadway cast presented a concert of songs from the musical to a full house in Charleston, South Carolina, in April 2014. Bechdel, Kron, Tesori and musical director Chris Fenwick accompanied the cast.


title: Fun Home (musical)

text: The musical began previews at Broadway's Circle in the Square Theatre on March 27, 2015, with an official opening on April 19, 2015. Gold directed the show on Broadway, with the same production team as the Off-Broadway production, including Zinn, Mefford and Stanton. The Off-Broadway cast reprised their roles on Broadway, except for the actors playing Medium Alison, John and Christian Bechdel. In December 2015, eight months after opening on Broadway, the show recouped its capitalization and began to make a profit. Costs for the show were relatively low due to a small cast and orchestra. The production closed on September 10, 2016, after 26 previews and 582 regular performances.


title: Fun Home (musical)

text: A year-long U.S. national tour of the show began in Cleveland, Ohio, in October 2016. The tour was directed by Sam Gold and starred Kate Shindle as Alison and Robert Petkoff as Bruce. The first international production of "Fun Home" premiered in Manila, Philippines, in November 2016, with Cris Villonco as Alison, Lea Salonga as Helen and Eric Kunze as Bruce. The production was directed by Bobby Garcia. The limited run of 18 performances closed on November 27, 2016. A review in ABS-CBN News praised the performances and direction and called the production "undeniably moving, piercing through our core, and performed by an incredibly talented ensemble."


title: Fun Home (musical)

text: The musical played in the Philippines in November 2016 at the RCBC Plaza in Makati. It was directed by Bobby Garcia. Cris Villonco starred as Alison, with Lea Salonga as Helen and Eric Kunze as Bruce. The first U.S. regional production opened in August 2017 at Millbrook Playhouse in Clinton County, Pennsylvania, Bechdel's childhood home and where "Fun Home" takes place; it was directed and choreographed by Courtney Laine Self. Vermont Stage Company produced the musical in Burlington, Vermont, where Bechdel wrote the graphic memoir; it ran for 29 performances in October 2017.


title: Fun Home (musical)

text: Singapore's Pangdemonium theatre company staged "Fun Home" in September and October 2017 at the Drama Centre Theatre, with a cast that included Adrian Pang and Monique Wilson. A production in Carmel, California, by Pacific Repertory Theatre at the Golden Bough Playhouse, directed by Stephen Moorer and choreographed by Sam Trevino, played in February 2018. A Canadian production played in February and March 2018 at the Arts Club in Vancouver.


title: Fun Home (musical)

text: The musical made its London premiere at the Off West End, Young Vic theatre with Gold again directing. It starred Kaisa Hammarlund as Alison, Zubin Varla as Bruce and Jenna Russell as Helen and ran from June to September 2018. A Catalan language version directed by Daniel Anglès ran at the Teatre Condal in Barcelona from September to November 2018.


title: Fun Home (musical)

text: An Australian co-production of the Melbourne Theatre Company and Sydney Theatre Company, directed by Dean Bryant and choreographed by Andrew Hallsworth, featured Lucy Maunder as adult Alison, Adam Murphy as Bruce and Marina Prior as Helen. It played at the Roslyn Packer Theatre in Sydney in 2021 and at the Arts Centre in Melbourne in 2022 after delays due to the Covid-19 pandemic.


title: Fun Home (musical)

text: The character of Alison Bechdel is portrayed by three actors. 43-year-old "Alison" is the play's narrator who reviews her family and early life, 19-year-old "Medium Alison" who is an Oberlin student discovering her sexuality, and 10-year-old "Small Alison" who is a child struggling against her father's expectations.


title: Fun Home (musical)

text: Since the songs in "Fun Home" are closely integrated into the script, no list of songs was provided in the program.


title: Fun Home (musical)

text: The original cast album, released in 2014, opened at #2 on the "Billboard" Top Cast Album Chart, a remarkable feat for an Off-Broadway cast album. After the musical opened on Broadway in 2015, new portions of the show were recorded, and parts were re-recorded, especially to feature Emily Skeggs in the role of Medium Alison. It also includes more dialogue to help the listener follow the story. The song "Party Dress" was added for Small Alison in place of "Al for Short", as the latter has been removed from the Broadway show. A dialogue scene, "Clueless in New York", replaced "I need more coffee". Bruce's short "a capella" bedtime song, "Pony Girl" was added, as was the scene "A flair for the dramatic...". The album was released in May 2015.


title: Fun Home (musical)

text: The track list of the 2015 release, which reflects the musical numbers in the Broadway production, is as follows:


title: Fun Home (musical)

text: The Off-Broadway production opened on October 22, 2013, to positive reviews. Ben Brantley of "The New York Times" spoke of the musical's emotional impact, artistry and universality, calling it a "beautiful heartbreaker of a musical". ""Fun Home" isn’t just a coming out story or a coming-of-age story. Its universality comes from its awareness of how we never fully know even those closest to us, and of the undercurrent of grown-up secrets, intuited by children, that exists to some degree in every family. "Fun Home" finds a shining clarity that lights up the night." Brantley praised both writer Kron and composer Tesori for their work. Of Kron he says: "her book and resonantly precise lyrics give this show its essential spine", and of Tesori's score "her best and most varied score to date... [which] captures [the story's] haunting ambiguity." Brantley later listed "Fun Home" as one of his top 15 shows of 2013.


title: Fun Home (musical)

text: Joe Dziemianowicz of the New York "Daily News" called the musical "achingly beautiful" and said that it "speaks to one family and all families torn by secrets and lies". Dziemianowicz listed "Fun Home" at the top of his Top 10 in Theater for 2013 list. Charles McNulty of the "Los Angeles Times," though mildly critical of a few of the show's elements still was impressed with "Fun Home", saying "There have been plenty of new American musicals better put together than "Fun Home", but I can't think of one in recent years that has touched me as much with its tender, ironic and courageous vulnerability." He states that the show's seeming weaknesses are part of the reason it succeeds, saying that it "gets off to a choppy start, takes unnecessary musical detours and is staged in a rough-hewn style that sometimes seems more accidental than intentional" but that it "succeeds not despite these flaws but in large measure because of them. Bechdel's ironically self-aware and inwardly searching sensibility is honored by a musical that isn't afraid to reveal its awkward side." Though less positive than Brantley, Dziemianowicz or McNulty, Miriam Krule of "Slate" still said "there are also moments of pure joy, and the musical shines during these". Krule felt, however, that "it's not clear that a musical is the best second format for the material". Adam Hetrick, editor-in-chief of Playbill.com, described "Fun Home" as "the best musical of the year", calling it "an emotionally-packed piece of theatre, full of joy, heart, sorrow and uncomfortable reality".


title: Fun Home (musical)

text: "New York Times" music critic Anthony Tommasini praised Tesori's score as a "masterpiece", noting that the "vibrant pastiche songs" and "varied kinds of music... a jazzy number for the young Alison in the middle of a rescue fantasy; Sondheim-influenced songs that unfold over insistent rhythmic figures and shifting, rich harmonies" come together to create "an impressively integrated entity". Tommasini also praised the show's ensemble numbers, calling them "complex yet texturally transparent, engrossingly dramatic". Reviewing the cast album for "Playbill", Steven Suskin praised Kron's "marvelous set" of lyrics, called Tesori "a master of musical styles... [who] matches Kron's tone with a mix of sensitivity and humor." Suskin singled out "Days and Days" for especial praise, calling it "a staggering piece of musical theatre writing". He also lauded the performances of Judy Kuhn ("stunning"), Michael Cerveris ("one of his finest performances ever") and the three Alisons, Beth Malone, Alexandra Socha and Sydney Lucas (calling the last "one of the most assured child actors we've seen"). Suskin called "Fun Home" "the best musical on the New York stage of 2013 — far outclassing the competition — and ... thus far the best musical of the 2013-14 season."


title: Fun Home (musical)

text: Anticipating the play's move to Broadway, David Levesley of online magazine "Mic" heralded "Fun Home"s focus on the individual experience of a lesbian, calling it "the most daring, relentless analysis of homosexual identity on the New York stage right now". Kalle Oskari Mattila, in "The Atlantic", however, argued that although the musical presents the novel's themes clearly, its Broadway marketing campaign "obfuscates rather than clarifies" the queer narrative of the original novel.


title: Fun Home (musical)

text: The Public Theater production of "Fun Home" was nominated for the 2014 Edward M. Kennedy Prize for Drama Inspired by American History, nine Lucille Lortel Awards (winning three, including Outstanding Musical), seven Outer Critics Circle Awards (winning Outstanding New Off-Broadway Musical), three Drama League Awards and eight Drama Desk Awards, and it won the Off Broadway Alliance Award for Best New Musical. Many critics predicted that "Fun Home" would win the 2014 Pulitzer Prize for Drama. The musical was a finalist for the Pulitzer, but "The Flick" by Annie Baker won the award. The Pulitzer committee called the musical "A poignant musical adaptation of a graphic memoir". The production won the New York Drama Critics' Circle Award for Best Musical and the Obie Award for Musical Theater, and 10-year-old Sydney Lucas won an Obie in the Performance category, becoming the youngest performer ever to win an Obie.


title: Fun Home (musical)

text: The original Broadway production was nominated for 12 Tony Awards, winning five, including Best Musical. Jeanine Tesori & Lisa Kron were the first female writing team to win the Tony Award for Best Original Score. Kron won for Best Book, Cerveris won for Best Leading Actor, and Gold won for Best Direction. Both Lucas and Skeggs won Theatre World Awards.


title: Fun Home (musical)

text: Jake Gyllenhaal and Riva Marker, through their Nine Stories Productions banner, have reportedly secured the rights to produce a film version of the musical. Gyllenhaal proposes to star as Bruce Bechdel, with Gold directing his first feature film.


title: League of Nations mandate

text: A League of Nations mandate was a legal status for certain territories transferred from the control of one country to another following World War I, or the legal instruments that contained the internationally agreed-upon terms for administering the territory on behalf of the League of Nations. These were of the nature of both a treaty and a constitution, which contained minority rights clauses that provided for the rights of petition and adjudication by the Permanent Court of International Justice.


title: League of Nations mandate

text: The mandate system was established under Article 22 of the Covenant of the League of Nations, entered into force on 28 June 1919. With the dissolution of the League of Nations after World War II, it was stipulated at the Yalta Conference that the remaining Mandates should be placed under the trusteeship of the United Nations, subject to future discussions and formal agreements. Most of the remaining mandates of the League of Nations (with the exception of South-West Africa) thus eventually became United Nations Trust Territories.


title: League of Nations mandate

text: Two governing principles formed the core of the Mandate System, being non-annexation of the territory and its administration as a "sacred trust of civilisation" to develop the territory for the benefit of its native people.


title: League of Nations mandate

text: According to historian Susan Pedersen, colonial administration in the mandates did not differ substantially from colonial administration elsewhere. Even though the Covenant of the League committed the great powers to govern the mandates differently, the main difference appeared to be that the colonial powers spoke differently about the mandates than their other colonial possessions.


title: League of Nations mandate

text: The mandate system was established by Article 22 of the Covenant of the League of Nations, drafted by the victors of World War I. The article referred to territories which after the war were no longer ruled by their previous sovereign, but their peoples were not considered "able to stand by themselves under the strenuous conditions of the modern world". The article called for such people's tutelage to be "entrusted to advanced nations who by reason of their resources, their experience or their geographical position can best undertake this responsibility".


title: League of Nations mandate

text: U.S. President Woodrow Wilson and South African General Jan Smuts played influential roles in pushing for the establishment of a mandates system. The mandates system reflected a compromise between Smuts (who wanted colonial powers to annex the territories) and Wilson (who wanted trusteeship over the territories).


title: League of Nations mandate

text: All of the territories subject to League of Nations mandates were previously controlled by states defeated in World War I, principally Imperial Germany and the Ottoman Empire. The mandates were fundamentally different from the protectorates in that the Mandatory power undertook obligations to the inhabitants of the territory and to the League of Nations.


title: League of Nations mandate

text: The divestiture of Germany's overseas colonies, along with three territories disentangled from its European homeland area (the Free City of Danzig, Memel Territory, and Saar), was accomplished in the Treaty of Versailles (1919), with the territories being allotted among the Allies on 7 May of that year. Ottoman territorial claims were first addressed in the Treaty of Sèvres (1920) and finalised in the Treaty of Lausanne (1923). The Turkish territories were allotted among the Allied Powers at the San Remo conference in 1920.


title: League of Nations mandate

text: The League of Nations decided the exact level of control by the Mandatory power over each mandate on an individual basis. However, in every case the Mandatory power was forbidden to construct fortifications or raise an army within the territory of the mandate, and was required to present an annual report on the territory to the Permanent Mandates Commission of the League of Nations.


title: League of Nations mandate

text: The mandates were divided into three distinct groups based upon the level of development each population had achieved at that time.


title: League of Nations mandate

text: The first group, or "Class A mandates", were territories formerly controlled by the Ottoman Empire that were deemed to "... have reached a stage of development where their existence as independent nations can be provisionally recognized subject to the rendering of administrative advice and assistance by a Mandatory until such time as they are able to stand alone. The wishes of these communities must be a principal consideration in the selection of the Mandatory."


title: League of Nations mandate

text: The second group of mandates, or "Class B mandates", were all former German colonies in West and Central Africa, referred to by Germany as (protectorates or territories), which were deemed to require a greater level of control by the mandatory power: "...the Mandatory must be responsible for the administration of the territory under conditions which will guarantee freedom of conscience and religion." The mandatory power was forbidden to construct military or naval bases within the mandates.


title: League of Nations mandate

text: The "Class C mandates", including South West Africa and certain of the South Pacific Islands, were considered to be "best administered under the laws of the Mandatory as integral portions of its territory"


title: League of Nations mandate

text: According to the Council of the League of Nations, meeting of August 1920: "draft mandates adopted by the Allied and Associated Powers would not be definitive until they had been considered and approved by the League ... the legal title held by the mandatory Power must be a double one: one conferred by the Principal Powers and the other conferred by the League of Nations,"


title: League of Nations mandate

text: (1) The Principal Allied and Associated Powers confer a mandate on one of their number or on a third power; (2) the principal powers officially notify the council of the League of Nations that a certain power has been appointed mandatory for such a certain defined territory; and (3) the council of the League of Nations takes official cognisance of the appointment of the mandatory power and informs the latter that it [the council] considers it as invested with the mandate, and at the same time notifies it of the terms of the mandate, after ascertaining whether they are in conformance with the provisions of the covenant."


title: League of Nations mandate

text: The U.S. State Department "Digest of International Law" says that the terms of the Treaty of Lausanne provided for the application of the principles of state succession to the "A" Mandates. The Treaty of Versailles (1920) provisionally recognised the former Ottoman communities as independent nations. It also required Germany to recognise the disposition of the former Ottoman territories and to recognise the new states laid down within their boundaries. The terms of the Treaty of Lausanne (1923) required the newly created states that acquired the territory detached from the Ottoman Empire to pay annuities on the Ottoman public debt and to assume responsibility for the administration of concessions that had been granted by the Ottomans. The treaty also let the States acquire, without payment, all the property and possessions of the Ottoman Empire situated within their territory. The treaty provided that the League of Nations was responsible for establishing an arbitral court to resolve disputes that might arise and stipulated that its decisions were final.


title: League of Nations mandate

text: A disagreement regarding the legal status and the portion of the annuities to be paid by the "A" mandates was settled when an Arbitrator ruled that some of the mandates contained more than one State:The difficulty arises here how one is to regard the Asiatic countries under the British and French mandates. Iraq is a Kingdom in regard to which Great Britain has undertaken responsibilities equivalent to those of a Mandatory Power. Under the British mandate, Palestine and Transjordan have each an entirely separate organization. We are, therefore, in the presence of three States sufficiently separate to be considered as distinct Parties. France has received a single mandate from the Council of the League of Nations, but in the countries subject to that mandate, one can distinguish two distinct States: Syria and the Lebanon, each State possessing its own constitution and a nationality clearly different from the other.


title: League of Nations mandate

text: After the United Nations was founded in 1945 and the League of Nations was disbanded, all but one of the mandated territories that remained under the control of the mandatory power became United Nations trust territories, a roughly equivalent status. In each case, the colonial power that held the mandate on each territory became the administering power of the trusteeship, except that Japan, which had been defeated in World War II, lost its mandate over the South Pacific islands, which became a "strategic trust territory" known as the Trust Territory of the Pacific Islands under United States administration.


title: League of Nations mandate

text: The sole exception to the transformation of the League of Nations mandates into UN trusteeships was that South Africa refused to place South-West Africa under trusteeship. Instead, South Africa proposed that it be allowed to annex South-West Africa, a proposal rejected by the United Nations General Assembly. The International Court of Justice held that South Africa continued to have international obligations under the mandate for South-West Africa. The territory finally attained independence in 1990 as Namibia, after a long guerrilla war of independence against the apartheid regime.


title: League of Nations mandate

text: Nearly all the former League of Nations mandates had become sovereign states by 1990, including all of the former United Nations Trust Territories with the exception of a few successor entities of the gradually dismembered Trust Territory of the Pacific Islands (formerly Japan's South Pacific Trust Mandate). These exceptions include the Northern Mariana Islands which is a commonwealth in political union with the United States with the status of unincorporated organised territory. The Northern Mariana Islands does elect its own governor to serve as territorial head of government, but it remains a U.S. territory with its head of state being the President of the United States and federal funds to the Commonwealth administered by the Office of Insular Affairs of the United States Department of the Interior.


title: League of Nations mandate

text: Remnant Micronesia and the Marshall Islands, the heirs of the last territories of the Trust, attained final independence on 22 December 1990. (The UN Security Council ratified termination of trusteeship, effectively dissolving trusteeship status, on 10 July 1987.) The Republic of Palau, split off from the Federated States of Micronesia, became the last to effectively get its independence, on 1 October 1994.


title: Duncan Laurence

text: Duncan de Moor (; born 11 April 1994), known professionally as Duncan Laurence, is a Dutch singer and songwriter. He represented the Netherlands in the Eurovision Song Contest 2019 with his song "Arcade" and went on to win the competition, giving the Netherlands its first Eurovision win since 1975. "Arcade" became one of the most successful Eurovision Song Contest winning entries on streaming platforms and international charts in recent history. Prior to Eurovision, Laurence was a semi-finalist in the fifth season of "The Voice of Holland".


title: Duncan Laurence

text: Born in Spijkenisse, Laurence grew up in Hellevoetsluis. He began writing his own songs as a teenager, as an escape from being bullied. He started his musical career at the Rock Academy in Tilburg, playing in a number of school bands, including his own, The Slick and Suited. Formed in 2013, the band went on to perform at Eurosonic Noorderslag. In February 2020, he revealed that he had oxygen deprivation at birth, and thus has had a motor disorder affect his right hand.


title: Duncan Laurence

text: Laurence participated in the fifth season of "The Voice of Holland", choosing Ilse DeLange as his coach. He advanced to the semi-finals before being eliminated. In March 2016, he left The Slick. Laurence graduated from the Rock Academy in 2017. He, with Jihad Rahmouni, wrote the music to K-pop duo TVXQ's song "Closer" for their 2018 album "".


title: Duncan Laurence

text: In January 2019, Laurence was internally selected to represent the Netherlands in the Eurovision Song Contest 2019, held in Tel Aviv, Israel. He was nominated by DeLange, with whom he remained in contact after "The Voice". His song, "Arcade", was released in March 2019. Arriving as the main favourite to win, Laurence eventually went on to win the contest, having received a total of 498 points. He is the fifth Dutch entrant to win the competition, and the first since Teach-In won the Eurovision Song Contest 1975 with the song "Ding-a-dong". As a result of the following year's contest being cancelled due to the COVID-19 pandemic, Laurence is the longest reigning Eurovision winner, having held the title for two consecutive years.


title: Duncan Laurence

text: After his Eurovision victory, Laurence embarked on a concert tour across the Netherlands and Europe. On 10 June 2019, he performed at the 50th anniversary of Pinkpop Festival in Landgraaf, the first Dutch Eurovision winner to perform at the event. He replaced the Swedish duo First Aid Kit who dropped out due to health reasons. On 23 October 2019, Laurence released his second single, "Love Don't Hate It". It was also announced that he signed a recording contract with Capitol Records. In 2020, the artists' entrance at Rotterdam Ahoy was re-named "Door Duncan" in his honour. On 13 May 2020, Laurence released his first extended play (EP), "Worlds on Fire", which included the singles "Arcade", "Love Don't Hate It", and "Someone Else", along with two new tracks. His first studio album, "Small Town Boy", followed on 13 November 2020. It was certified platinum in the Netherlands three days after its release. The album's release was preceded by "Feel Something", a collaboration with fellow Dutch DJ Armin van Buuren.


title: Duncan Laurence

text: In the second half of 2020, "Arcade" went viral on social media platform TikTok, resulting in the song's new chart success and rise in streams on various platforms. In January 2021, "Arcade" became the most-streamed Eurovision song on Spotify, surpassing a record previously held by Eurovision 2019 runner-up Mahmood and his entry "Soldi". On 12 February 2021, "Arcade" reached the UK Singles Chart's top 40, and two weeks later it peaked at number 29. In March, Laurence made his US television debut performing "Arcade" on "Today", and later also performed the song's duet version alongside Fletcher on "The Ellen DeGeneres Show". Following these promotional appearances, the song broke into the US "Billboard" Hot 100 chart, becoming the first Eurovision song in 25 years and the first Eurovision winning song in 45 years to do so; it eventually peaked at number 30.


title: Duncan Laurence

text: At the Eurovision Song Contest 2021 held in Rotterdam, Laurence opened the first semi-final with "Feel Something". In the same event, he was awarded a Global Platinum record for one billion streams of "Arcade". However, he later tested positive for COVID-19, which prevented him from performing live in the grand final. Pre-recorded footage of his performance, consisting of "Arcade" and a new single from "Small Town Boy"'s deluxe edition, "Stars", was broadcast instead during the final.


title: Duncan Laurence

text: On 11 June 2021, the soundtrack album for the second season of the Hulu series "Love, Victor" was released. Among the artists featured on the soundtrack was Laurence with "Heaven Is a Hand to Hold", which he co-wrote with Leland, Jordan Garfield and Peter Thomas. Laurence also features on American singer Wrabel's single "Back to Back", which was released on 30 July off of the latter's debut album "These Words Are All for You". "Wishes Come True", a standalone Christmas single, followed on 26 November. In 2022, Laurence served as a coach on the sixth season of "The Voice Kids Belgium", where a member of his team, Karista, won.


title: Duncan Laurence

text: On 3 August 2022, Laurence released "Electric Life", which serves as the lead single of his forthcoming second studio album. A collaborative single with Rosa Linn, "WDIA (Would Do It Again)", followed on 21 October.


title: Duncan Laurence

text: In a brief interview, Laurence cited Coldplay, Snow Patrol, Ryan Tedder, Sia, Sam Smith and Adele as influences.


title: Duncan Laurence

text: Laurence came out as bisexual in 2016, which he addressed publicly in an Instagram post in October 2018. During a press conference shortly before the Eurovision final, he affirmed his sexuality: "I am more than just an artist, I am a person, I am a living being, I'm bisexual, I'm a musician, I stand for things. And I'm proud that I get the chance to show what I am, who I am." On 5 October 2020, he announced that he was engaged to his boyfriend, American songwriter Jordan Garfield.


The 2022 Major League Baseball All-Star Game was the 92nd Major League Baseball All-Star Game, held between the American League (AL) and the National League (NL) of Major League Baseball (MLB). The game was hosted by the Los Angeles Dodgers at Dodger Stadium. The game was played on July 19, broadcast nationally by Fox television and ESPN Radio.


title: 2022 Major League Baseball All-Star Game

text: The Dodgers were awarded the 2022 MLB All-Star Game after the 2020 contest, which they were originally scheduled to host, was canceled due to the COVID-19 pandemic in the United States. This marked the first time in 42 years (and fourth time overall) that the Dodgers hosted an All-Star Game, the previous occurrences being in 1949 at Ebbets Field in Brooklyn (when the franchise played as the Brooklyn Dodgers), 1959 at Los Angeles Memorial Coliseum, and 1980 at Dodger Stadium.


text: The starting rosters for each league's position players plus designated hitter (DH) were determined by fan balloting, which was conducted in two phases. New in 2022, the first-phase top vote-getter for each league automatically received a spot in the starting lineup. The top two vote-getters for every other non-pitching position and DH advanced to the second phase of voting. There are normally six finalists for the three outfield positions in each league, except when an outfielder is the top vote-getter, in which case there are four finalists for the remaining two outfield positions. Voting does not carry over between phases.


text: First phase voting was held from June 8 through June 30, and second phase voting was held from July 5 through July 8. All voting was conducted online, at MLB.com or via the MLB app. Starting players, as selected via voting, were announced on July 8. Reserve position players and all pitchers—selected "via 'Player Ballot' choices and selections made by the Commissioner’s Office"—were announced on July 10. The final roster size of each team was planned to be 32 players.


text: MLB announced on July 8 that Albert Pujols and Miguel Cabrera had been added as the 33rd player for the NL and AL, respectively, in celebration of their career achievements. This was the 11th All-Star selection for Pujols and the 12th for Cabrera.


text: The 2022 All-Star Game logo was shaped after the hexagonal DodgerVision video boards at Dodger Stadium, with gold-trimmed Art Deco lettering as a nod to Hollywood. This was originally unveiled as the logo for the canceled 2020 All-Star Game, but was ultimately recycled for the 2022 game. Uniforms for the American League were in dark gray, while uniforms for the National League were in white. Team logos and letters were in gold with black trim. Caps were black featuring each team's logo in gold and black embellishments, along with a gold star.


text: <li>Miles Mikolas was named as the roster replacement for Corbin Burnes due to Burnes opting not to play


text: The Canadian national anthem was sung in English and French by actress and singer Melissa O'Neil, accompanied by organist Dieter Ruehle. The American national anthem was sung by singer-songwriter and actor Ben Platt.


title: Annual plant

text: An annual plant is a plant that completes its life cycle, from germination to the production of seeds, within one growing season, and then dies. The length of growing seasons and period in which they take place vary according to geographical location, and may not correspond to the four traditional seasonal divisions of the year. With respect to the traditional seasons, annual plants are generally categorized into summer annuals and winter annuals. Summer annuals germinate during spring or early summer and mature by autumn of the same year. Winter annuals germinate during the autumn and mature during the spring or summer of the following calendar year.


title: Annual plant

text: One seed-to-seed life cycle for an annual plant can occur in as little as a month in some species, though most last several months. Oilseed rapa can go from seed-to-seed in about five weeks under a bank of fluorescent lamps. This style of growing is often used in classrooms for education. Many desert annuals are therophytes, because their seed-to-seed life cycle is only weeks and they spend most of the year as seeds to survive dry conditions.


title: Annual plant

text: In cultivation, many food plants are, or are grown as, annuals, including virtually all domesticated grains. Some perennials and biennials are grown in gardens as annuals for convenience, particularly if they are not considered cold hardy for the local climate. Carrot, celery and parsley are true biennials that are usually grown as annual crops for their edible roots, petioles and leaves, respectively. Tomato, sweet potato and bell pepper are tender perennials usually grown as annuals. Ornamental perennials commonly grown as annuals are impatiens, mirabilis, wax begonia, snapdragon, "pelargonium", coleus and petunia. Examples of true annuals include corn, wheat, rice, lettuce, peas, watermelon, beans, zinnia and marigold.


title: Annual plant

text: Winter annuals germinate in autumn or winter, live through the winter, then bloom in winter or spring.


title: Annual plant

text: The plants grow and bloom during the cool season when most other plants are dormant or other annuals are in seed form waiting for warmer weather to germinate. Winter annuals die after flowering and setting seed. The seeds germinate in the autumn or winter when the soil temperature is cool.


title: Annual plant

text: Winter annuals typically grow low to the ground, where they are usually sheltered from the coldest nights by snow cover, and make use of warm periods in winter for growth when the snow melts. Some common winter annuals include henbit, deadnettle, chickweed, and winter cress.


title: Annual plant

text: Winter annuals are important ecologically, as they provide vegetative cover that prevents soil erosion during winter and early spring when no other cover exists and they provide fresh vegetation for animals and birds that feed on them. Although they are often considered to be weeds in gardens, this viewpoint is not always necessary, as most of them die when the soil temperature warms up again in early to late spring when other plants are still dormant and have not yet leafed out.


title: Annual plant

text: Even though they do not compete directly with cultivated plants, sometimes winter annuals are considered a pest in commercial agriculture, because they can be hosts for insect pests or fungal diseases (such as ovary smut, "Microbotryum" sp.) which attack crops being cultivated. The property that they prevent the soil from drying out can also be problematic for commercial agriculture.


title: Annual plant

text: In 2008, it was discovered that the inactivation of only two genes in one species of annual plant leads to its conversion into a perennial plant. Researchers deactivated the SOC1 and FUL genes (which control flowering time) of "Arabidopsis thaliana". This switch established phenotypes common in perennial plants, such as wood formation.


title: Braxton Hicks contractions

text: Braxton Hicks contractions, also known as practice contractions or false labor, are sporadic uterine contractions that may start around six weeks into a pregnancy. However, they are usually felt in the second or third trimester of pregnancy.


title: Braxton Hicks contractions

text: Braxton Hicks contractions are often confused for labor. Braxton Hicks contractions allow the pregnant woman's body to prepare for labor. However, the presence of Braxton Hicks contractions does not mean a woman is in labor or even that labor is about to commence. Another common cause of pain in pregnancy is round ligament pain.


title: Braxton Hicks contractions

text: Although the exact causes of Braxton Hicks contractions are not fully understood, there are known triggers that cause Braxton Hicks contractions, such as when a pregnant woman:


title: Braxton Hicks contractions

text: There are two thoughts for why these intermittent uterine muscle contractions may be occurring. The first is that these early “practice contractions” could be helping to prepare the body for true labor by strengthening the uterine muscle. The second is that these contractions may occur when the fetus is in a state of physiological stress, in order to help provide more oxygenated blood to the fetal circulation.


title: Braxton Hicks contractions

text: The determination of Braxton Hicks contractions is dependent on the history and physical assessment of the pregnant woman's abdomen, as there are no specific imaging tests for diagnosis. The key is to differentiate Braxton Hicks contractions from true labor contractions (see Table 1 above).


title: Braxton Hicks contractions

text: Most commonly, Braxton Hicks contractions are weak and feel like mild cramping that occurs in a localized area in the front abdomen at an infrequent and irregular rhythm (usually every 10-20 minutes), with each contraction lasting up to 2 minutes. They may be associated with certain triggers and can disappear and reappear; they do not get more frequent, longer, or stronger over the course of the contractions. However, as the end of a pregnancy approaches, Braxton Hicks contractions tend to become more frequent and more intense.


title: Braxton Hicks contractions

text: On a physical exam, some uterine muscle tightening may be palpable, but there should be no palpable contraction in the uterine fundus and no cervical changes or cervical dilation. Braxton Hicks contractions do not lead to birth.


title: Braxton Hicks contractions

text: Although there is no specific medical treatment for Braxton Hicks contractions, some alleviating factors include:


title: Braxton Hicks contractions

text: Braxton Hicks contractions are named after John Braxton Hicks, the English physician who first wrote about them in Western medicine. In 1872, he investigated the later stages of pregnancy and noted that many pregnant women felt contractions without being near birth. He examined the prevalence of uterine contractions throughout pregnancy and determined that contractions that do not lead to labor are a normal part of pregnancy.


title: Tā moko

text: Tattoo arts are common in the Eastern Polynesian homeland of the Māori people, and the traditional implements and methods employed were similar to those used in other parts of Polynesia. In pre-European Māori culture, many if not most high-ranking persons received . "Moko" were associated with "mana" and high social status; however, some very high-status individuals were considered too "tapu" to acquire "moko", and it was also not considered suitable for some "tohunga" to do so. Receiving constituted an important milestone between childhood and adulthood, and was accompanied by many rites and rituals. Apart from signalling status and rank, another reason for the practice in traditional times was to make a person more attractive to the opposite sex. Men generally received on their faces, buttocks (') and thighs ('). Women usually wore "moko" on their lips ("") and chins. Other parts of the body known to have "moko" include women's foreheads, buttocks, thighs, necks and backs and men's backs, stomachs, and calves.


title: Tā moko

text: Historically the skin was carved by ' (chisels), rather than punctured as in common contemporary tattooing; this left the skin with grooves rather than a smooth surface. Later needle tattooing was used, but, in 2007, it was reported that the ' currently was being used by some artists.


title: Tā moko

text: Originally ' ( specialists) used a range of ' (chisels) made from albatross bone which were hafted onto a handle, and struck with a mallet. The pigments were made from the for the body colour, and ' (burnt timbers) for the blacker face colour. The soot from burnt kauri gum was also mixed with fat to make pigment. The pigment was stored in ornate vessels named ', which were often buried when not in use. The "" were handed on to successive generations. A (feeding funnel) is believed to have been used to feed men whose mouths had become swollen from receiving .


title: Tā moko

text: The practice of collecting and trading ' (tattooed heads) changed the dynamic of in the early colonial period. King (see below) talks about changes which evolved in the late 19th century when needles came to replace the ' as the main tools. The needle method was quicker and presented fewer possible health risks, but the texture of the became smooth. on men stopped around the 1860s in line with changing fashion and acceptance by .


title: Tā moko

text: Women continued receiving through the early 20th century, and the historian Michael King in the early 1970s interviewing over 70 elderly women who would have been given the before the 1907 Tohunga Suppression Act. Women's tattoos on lips and chin are commonly called "pūkauae" or "moko kauae".


title: Tā moko

text: Since 1990 there has been a resurgence in the practice of for both men and women, as a sign of cultural identity and a reflection of the general revival of the language and culture. Most applied today is done using a tattoo machine, but there has also been a revival of the use of "" (chisels). Women too have become more involved as practitioners, such as Christine Harvey of the Chathams, Henriata Nicholas in Rotorua and Julie Kipa in Whakatane. It is not the first time the contact with settlers has interfered with the tools of the trade: the earliest "moko" were engraved with bone and were replaced by metal supplied by the first visitors. The most significant change was the adjustment of the themes and conquests the tattoos represented. "Tā moko" artist Turumakina Duley, in an interview for Artonview magazine, shares his view on the transformation of the practice: “The difference in tā moko today as compared to the nineteenth century is in the change of lifestyle, in the way we live. […] The tradition of moko was one of initiation, rites of passage – it started around that age – but it also benchmarks achievements in your life and gives you a goal to strive towards and achieve in your life.” Duley received "moko" to celebrate his graduation from a Bachelor in Māori Studies.


title: Tā moko

text: A large proportion of New Zealanders now have tattoos of some sort, and there is "growing acceptance ...as a means of cultural and individual expression."


title: Tā moko

text: In 2016 New Zealand politician Nanaia Mahuta had a "moko kauae". When she became foreign minister in 2020, a writer said that her facial tattoo was inappropriate for a diplomat. There was much support for Mahuta, who said "there is an emerging awareness about the revitalisation of Māori culture and that facial moko is a positive aspect of that. We need to move away from moko being linked to gangs, because that is not what moko represent at all."


title: Tā moko

text: On 25 December 2021, Māori journalist Oriini Kaipara, who has a "moko kauae", became the first person with traditional facial markings to host a primetime news program on national television in New Zealand.


title: Tā moko

text: Europeans were aware of from the time of the first voyage of James Cook. Moreover, early Māori visitors to Europe, such as Moehanga in 1805, Hongi Hika in 1820 and Te Pēhi Kupe in 1826, all had full-face , as did several "Pākehā Māori," such as Barnet Burns. However, until relatively recently the art had little global impact.


title: Tā moko

text: Wearing of by non-Māori has been called cultural appropriation, and high-profile uses of Māori designs by Robbie Williams, Ben Harper and a 2007 Jean-Paul Gaultier fashion show were controversial.


title: Tā moko

text: To reconcile the demand for Māori designs in a culturally sensitive way, the group promotes the use of the term "", which has now gained wide acceptance:


title: Tā moko

text: ... translates literally to mean—"skin writing." As opposed to "moko" which requires a process of consents, genealogy and historical information, "kirituhi" is merely a design with Māori flavour that can be applied anywhere, for any reason and on anyone...


title: Newport News Shipbuilding

text: Newport News Shipbuilding (NNS), a division of Huntington Ingalls Industries, is the largest industrial employer in Virginia, and sole designer, builder and refueler of United States Navy aircraft carriers and one of two providers of U.S. Navy submarines. Founded as the Chesapeake Dry Dock and Construction Co. in 1886, Newport News Shipbuilding has built more than 800 ships, including both naval and commercial ships. Located in the city of Newport News, its facilities span more than , strategically positioned in one of the great harbors of the East Coast.