title: Insurrection of 10 August 1792

text: On 2 September the alarm gun was fired and drums beat the citizens to their Sections again. The walls of Paris were plastered with recruiting posters whose opening sentence, "To arms, citizens, the enemy is at our gates!" was taken literally by many readers. In the Assembly, Danton concluded the most famous of all his speeches: ""De l’audace, encore de l’audace, toujours de l’audace, et la France est sauvée!"" (Audacity, and yet more audacity, and always audacity, and France will be saved!) Once more the sans-culottes responded and in the next three weeks, 20,000 marched from Paris for the defence of the Revolution.


title: Rideau Cottage

text: Rideau Cottage is a historic residential building located on the grounds of Rideau Hall in Ottawa, Ontario. The two-level, 22-room Georgian Revival home is owned by the Canadian Crown and has traditionally been inhabited by people associated with the governor general of Canada, including the viceroy's private secretary. It has been occupied by Prime Minister Justin Trudeau and his family in lieu of 24 Sussex Drive since 2015.


title: Rideau Cottage

text: Construction on the building, which was based on a design by architect F. P. Rubidge, began in 1866 and concluded in 1867. Though intended in the early days to serve as the residence of the governor general's secretary, the cottage was later designated for use by the government as an official guest house for visiting dignitaries.


title: Rideau Cottage

text: On his arrival in Canada in 1883, incoming governor general the Marquess of Lansdowne resided at Rideau Cottage while waiting for Rideau Hall to be vacated by the outgoing governor general, the Marquess of Lorne. Other residents included: Lionel and Lilias Massey during Vincent Massey's time as governor general; Georges Vanier, as Aide-de-camp to Governor General Byng; Barbara Uteck, private secretary to the governor general from 2000 to 2006, and her husband, Graham Fraser. Uteck's successor Sheila-Marie Cook, resided at Rideau Cottage from 2006 until January 31, 2011. The house was then occupied by private secretary Stephen Wallace, until the weekend of 24–25 October 2015, when he vacated the premises to allow then prime minister-designate Justin Trudeau and his family to live in the house while the traditional official residence of the prime minister of Canada, 24 Sussex Drive, was undergoing assessment for repairs and restoration.


title: Rideau Cottage

text: Rideau Cottage is a two-level, 22-room Georgian Revival building. Originally, the structure had 14 rooms on a single floor. An 1872 remodel, using a different brick, added both the second level and a verandah on three sides of the ground floor. During that remodel, the exterior brick of the first floor was covered in stucco painted to appear like brick. (When the verandah was removed some time later, the stucco remained.) Between 1999 and 2000, the building underwent major renovations to the basement, roof and interior finishes, and the mechanical and electrical systems were upgraded. Outside, the stucco was removed and each brick and joint was individually dyed to give a uniform appearance. It was again renovated in 2013.


title: Rideau Cottage

text: Rideau Cottage is characterized and distinguished by its symmetry, simple lines, classically inspired central entrance with pedimented porch, sash windows flanked by decorative shutters, and paired chimneys.


title: Nora Fries

text: Nora Fries, also known as Mrs. Freeze, is a fictional character appearing in media published by DC Entertainment, commonly in stories featuring the superhero Batman. She is married to Batman villain Mr. Freeze, and was introduced in the DC Animated Universe (DCAU) TV series "", before being adapted into the comic books. Across most versions, Nora suffers from a terminal illness and is kept cryogenically frozen until a cure can be found. Nora doesn't play a major role in most stories beyond serving as Freeze's motivation for turning to a life of crime, which is to cure her illness by any means necessary. However, the character has also been depicted as a supervillain, under the alias Lazara.


title: Nora Fries

text: Nora Fries made her live-action debut in the 1997 film "Batman & Robin", played by supermodel Vendela Kirsebom Thomessen. She has also appeared in the second season of "Gotham" portrayed by Kristen Hager, the 2018 Arrowverse crossover event "Elseworlds", portrayed by Cassandra Jean Amell, and "Batwoman" portrayed by Jennifer Higgin when her aging started to continue rapidly.


title: Nora Fries

text: After marrying Victor Fries, a GothCorp cryogenics researcher, Nora is diagnosed with a terminal illness. Victor uses the company's equipment to cryogenically freeze his wife until a cure can be found. However, GothCorp CEO Ferris Boyle cuts the funding and confronts Victor in the latter's laboratory to personally shut down the project, which subsequently leads to Victor being transformed into Mr. Freeze. In the "" episode "", Nora is stated to be dead following the lab's destruction. However, the episode "Deep Freeze" reveals that Nora is still alive within her cryogenic chamber.


title: Nora Fries

text: As of the film "", Victor retrieved Nora's chamber and brought it to an Arctic cave until a submarine crew accidentally damages it. Victor murders the crew before bribing an old colleague into helping him kidnap Barbara Gordon as she shares Nora's rare blood type. While Batman intervenes and rescues Gordon, Nora is ultimately cured by Dr. Lyle Johnston of Wayne Enterprises.


title: Nora Fries

text: In "The New Batman Adventures" episode "Cold Comfort", Nora is said to have waited for the presumed dead Victor for some time before eventually marrying her doctor Francis D'Anjou. This subplot is expanded upon in volume two of "The Batman Adventures" tie-in comic series, in which D'Anjou stages his abduction and death in order to frame Victor and make Nora hate him. After D'Anjou is defeated and arrested by Nightwing, Nora reunites with Victor in the Arctic Circle, revealing she never truly loved D'Anjou, before Victor gets in a fight with Batman and the former's head is lost in the Arctic Ocean. After talking to the incarcerated D'Anjou and Victor's adoptive Inuit son Koonak, Nora returns to the Arctic Circle to find Victor. As of the sequel comic series "", Nora died after her terminal illness returned.


title: Nora Fries

text: By the time "Batman Beyond" takes place Nora has died. After Victor, whose head was found and preserved by Powers Technology, is restored to a human body that can survive normal room temperatures by Derek Powers, the CEO of Wayne-Powers. He then begins to atone for his past crimes by starting a foundation named after her.


title: Nora Fries

text: Nora is an attractive and gentle girl. She meets Victor Fries in a strict boarding school and later marries him. Shortly after their marriage, Nora falls terminally ill. Victor discovers a way to put Nora into cryostasis, hoping to sustain her until a cure can be found. In time her husband will become one of Batman's well-known enemies, Mr. Freeze. Over time she falls to pieces in her ice state, but Freeze puts her back together again.


title: Nora Fries

text: Freeze helps Nyssa al Ghul by creating a machine for the Society that can also be used to capture Batgirl. In return, Nyssa has offered to help him restore his wife using the Lazarus Pit. Though Nyssa has told him the pit needs to be adjusted for Nora, Batgirl convinces Freeze that Nyssa has no intention of reviving her at all, and he throws Nora into the pit himself.


title: Nora Fries

text: Because of all the years of being altered and broken, Nora absorbs the pit's alchemy, acquiring the powers to conjure flame and reanimate the dead. She becomes a supervillainess, calling herself Lazara. Mr. Freeze manages to stop her by freezing her once again.


title: Nora Fries

text: Nora's history was revised as of DC Comics' 2011 reboot of its continuity, The New 52. Nora Fries is now Nora Fields, a woman born in 1943 and placed in cryostasis by her parents at age 23 due to her being diagnosed with incurable heart disease. Her case was taken on by Wayne Enterprises employee Victor Fries, who fell in love with her, becoming obsessed to such a degree that he began believing that she was his wife. The project was terminated by Bruce Wayne, and in rage, Victor threw a chair at him. Wayne dodged the chair, which hit a freezing chemical tank and left Fries's body permanently ruined due to the blistering cold while also causing him to become Mr. Freeze.


title: Nora Fries

text: Sometime later, Mr. Freeze escapes his cell and tries to steal Nora's body and flee Gotham while also vowing to kill Bruce Wayne. Batman intervenes and ultimately tells Freeze the truth concerning Freeze's "wife" with Freeze reacting angrily, saying that it's all lies. The two later engage in a fight with Batman eventually emerging as the victor and stopping Freeze.


title: Nora Fries

text: This version of Victor and Nora's relationship has been acknowledged as far more disturbing than previous adaptions, to the point of actually bothering Batman, who comments to Freeze that Nora is old enough to be his grandmother.


title: Nora Fries

text: The Nora from New 52 had been retconned, thereby making her history more similar to the animated series and post-"Zero Hour". She was the wife of Victor Fries (having a career as a talented ballerina) but discovered she had an incurable type of cancer. She had wanted to live the last years of the life of her own free will, but her husband forced her into the cryogenic storage.


title: Nora Fries

text: Several years later due to the events in "Year of the Villain", Lex Luthor gives Mr. Freeze a vial that would cure and furthermore revive his frozen wife. Mr. Freeze had to kidnap several women who matched his late wife's characteristics, in both mental and physical states, going as far as modifying their DNA to hers in order to experiment with the vial before reviving his wife. In the end, it worked, and his wife came back to life cured. She soon took up the name Mrs. Freeze.


title: Nora Fries

text: Nora and Victor's backgrounds and the beginnings of their romance are the premise of "Victor and Nora: A Gotham Love Story", written by Lauren Myracle and with art by Isaac Goodhart, released in November 2020. Nora's full maiden name is Elinor Grace Faria in this version.


title: Nora Fries

text: After emerging from the Lazarus Pit, Nora Fries becomes Lazara. Lazara is a supervillainess who can summon fire and raise the dead. She blames her husband Victor Fries for her transformation.


title: Nora Fries

text: In Rebirth, she is given same chemicals that caused Mr. Freeze's transformation, leaving her to survive in Sub-zero temperatures.


title: Nora Fries

text: Nora Fries appears in "Batman & Robin", portrayed by Vendela Kirsebom Thomessen. This version suffers from an advanced form of the fictional illness, MacGregor's Syndrome.


title: Nora Fries

text: Nora Fries appears in "". This version's body is kept in the Pact's hideout, of which her husband Mr. Freeze is a member.


title: Dolores Fonzi

text: Dolores María Fonzi (born 19 July 1978) is an Argentine TV, theatre and film actress. Several of her films have received critical acclaim such as "Burnt Money", "Waiting for the Messiah", "Bottom of the Sea" and "The Aura". Her brother Tomás Fonzi is also an actor in Argentina.


title: Dolores Fonzi

text: Dolores Fonzi was born in Buenos Aires, Argentina. After the separation of her parents, her mother, María del Rosario Cárrega, returned with her children to Adrogué, a city where Dolores and her brothers Tomás and Diego grew up. She studied acting at the school of Carlos Gandolfo.


title: Dolores Fonzi

text: In 1996, when she was seventeen years old, Dolores Fonzi made her first television appearance in the series "La nena". In 1998, Cris Morena chose her to play Clara Vázquez in "Verano del '98" with her brother, who played Benjamín Vázquez. Thanks to this successful series and her character as a villain, she gained great popularity and success. At the end of 1999 she left "Verano del '98" to be part of the cast of the movie of Marcelo Piñeyro, "Burnt Money" and in "Waiting for the Messiah". In 2001, she had great recognition by integrating the cast of "El sodero de mi vida" in Canal 13, where she played a girl with a slight mental retardation. Experimenting with Luis Ortega the tape "Caja negra" is born, where she acted and participated in the integral creation. She later acted in movies like "Vidas privadas", "Bottom of the Sea", "The Aura", "La mujer rota", "Salamandra", "El club de la muerte" and "El campo", for the latter she was nominated for the Silver Condor Awards for Best Actress. In 2003 she starred in the unitary series "Disputas" and in the adaptation of the play of John Ford, "Lástima que sea una puta". The following year she starred with Mariano Martínez the terror unit, "Sangre fría" by Telefe.


title: Dolores Fonzi

text: During 2006, Fonzi starred and produced the miniseries "Soy tu fan" which in 2010 was adapted by Canana Films in Mexico. She also starred in the series "El tiempo no para" by Canal 9. From 2005 to 2008 she participated in three chapters of "Mujeres asesinas". Her return to television was in 2012 with her participation in "Graduados" the new Underground production for Telefe. In addition, she was part of the unit of TV Pública "En terapia" with the actors Norma Aleandro, Diego Peretti, Leonardo Sbaraglia, Ailín Salas, Julieta Cardinali and Germán Palacios. She also resumed the theater as the protagonist of the play "Isósceles". That year, she also made the filming of "El Crítico" by Hernán Guerschuny, a co-production between HC Films and Lagarto Cine where Dolores Fonzi had the lead alongside Rafael Spregelburd. On television she participated as a guest actress in two episodes of the series "Aliados".


title: Dolores Fonzi

text: In 2015 Fonzi starred in the film "Paulina", remake of the film starring Mirtha Legrand, in 1960. The film had a strong box office collection and favorable reviews, being praised at the Cannes Festival. For her work in the film, Fonzi was awarded the Havana Star Prize for Best Actress at the 17th Havana Film Festival New York. She also acted in "Truman" film starring Ricardo Darín. In 2016 she was part of the cast of the series of "La Leona", she play Eugenia Leone.


title: Dolores Fonzi

text: Dolores Fonzi started dating Gael García Bernal after they met on the set of the 2001 film directed by Fito Páez, "Vidas Privadas". In January 2009, their first child was born in Madrid, Spain. Their daughter was born in April 2011 in Buenos Aires, Argentina.


title: Ethiopian Semitic languages

text: Ethiopian Semitic (also Ethio-Semitic, Ethiosemitic, Ethiopic or Abyssinian) is a family of languages spoken in Ethiopia, Eritrea and Sudan. They form the western branch of the South Semitic languages, itself a sub-branch of Semitic, part of the Afroasiatic language family.


title: Ethiopian Semitic languages

text: With 21,811,600 total speakers as of 2007, including around 4,000,000 second language speakers, Amharic is the most widely spoken language of Ethiopia and second-most commonly spoken Semitic language in the world (after Arabic). Tigrinya has 7 million speakers and is the most widely spoken language in Eritrea. There is a small population of Tigre speakers in Sudan, and it is the second-most spoken language in Eritrea. The Ge'ez language has a literary history in its own Ge'ez script going back to the first century AD. It is no longer spoken but remains the liturgical language of the Ethiopian and Eritrean Orthodox Tewahedo Churches, as well as their respective Eastern Catholic counterparts.


title: Ethiopian Semitic languages

text: The "homeland" of the South Semitic languages is widely debated, with sources such as A. Murtonen (1967) and Lionel Bender (1997), suggesting an origin in Ethiopia and others suggesting the southern portion of the Arabian Peninsula. A study based on a Bayesian model suggested the latter. This statistical analysis could not estimate when or where the ancestor of all Semitic languages diverged from Afroasiatic but it suggested that the divergence or East, Central, and South Semitic branches occurred in the Levant.


title: Ethiopian Semitic languages

text: The modern Ethiopian Semitic languages all share subject–object–verb (SOV) word order as part of the Ethiopian language area, but Ge'ez had verb-subject-object (VSO) order in common with other Semitic languages spoken in what is now Yemen.


title: Ethiopian Semitic languages

text: The division of Ethiopic into northern and southern branches was proposed by Cohen (1931) and Hetzron (1972) and garnered broad acceptance, but has been challenged by Rainer Voigt, who concludes that the northern and southern languages are closely related.


title: Alvarez incest case

text: The Álvarez incest case was uncovered late March 2009 when 59-year-old Arcedio Álvarez was arrested in Mariquita, Colombia, accused of imprisoning and sexually abusing his daughter Alba Nidia Álvarez over a period of 25 years, beginning from when she was 9 years old. The daughter also gave birth to 14 children, 6 of whom died due to lack of medical care.


title: Alvarez incest case

text: Arcedio Álvarez Quintero (1950–2011) was a convicted child molester and sex offender from Mariquita, Colombia. He grew up farming with his family, becoming a farmer himself as an adult.


title: Alvarez incest case

text: In 2009, Álvarez was prosecuted for molesting and abusing his biological daughter for years, resulting in 14 children, 6 of whom died due to malnutrition and lack of proper care. Álvarez claimed that his crimes were part of "God's plan" and furthermore denied any biological relationship to the victim, but this was later disproved by DNA testing. Álvarez became known as "the Monster of Mariquita" and "the Colombian Fritzl", after infamous Austrian murderer, rapist, and child molester, Josef Fritzl.


title: Alvarez incest case

text: After the death of Álvarez's wife, he began to abuse his young daughter Nidia. The rapes are believed to have started when she was about 7 years old, and continued for roughly 26 years, resulting in 14 pregnancies, the first when Nidia was just 13 years old. Of the 14 children to come from this abuse, 6 died due to denial of medical care by Álvarez. Álvarez never allowed his daughter to leave their home unsupervised, and would often tell her that their relationship was simply "God's will". As the children grew, Álvarez allegedly began to assault his young daughters and may have been grooming his sons to do the same.


title: Alvarez incest case

text: Arcedio Álvarez's victims included his daughter Alba Nidia, 35 at the time of the trial, and her children by him who were also his grandchildren. Alba Nidia grew up poor in their small home in rural central Colombia. Álvarez reportedly taught her to read and write, but neither she nor her children were allowed to attend school. All her children were born at home, and 6 of them died in childhood, when Álvarez refused to take them to the hospital. Of the 8 surviving children (5 girls and 3 boys), the oldest was 19 years old at the time of the trial, and the youngest was only a few months old.


title: Alvarez incest case

text: Arcedio Álvarez was arrested in March 2009, after Alba Nidia left town with her six youngest children. The two eldest children had wanted to stay. She then admitted to a child welfare worker the sexual abuse she had endured for almost 30 years. Local councilwoman Gilma Jiménez made public the extreme conditions in which Alba and her children were living with her father, and how poor their health was. The investigation later revealed that many in the rural area where they lived knew of the suspicious things occurring and had not said anything about it.


title: Alvarez incest case

text: When the case first came to light, Álvarez repeatedly claimed that Alba Nidia was adopted. However, several lab tests proved that Alba Nidia was Álvarez's biological daughter. He also claimed that he and Alba Nidia had a consensual, loving romantic relationship.


title: Alvarez incest case

text: During the investigation, Álvarez needed police protection when attending his court dates due to the hatred the community felt toward him. He was found guilty of crimes against his daughter and her children, and was eventually sentenced to a minimum of fifteen years in prison. However, Álvarez died in 2011.


title: 2022 Nobel Peace Prize

text: The 2022 Nobel Peace Prize was awarded jointly to one individual and two organisations which advocate human rights and civil liberty. The recipients were the Belarusian activist Ales Bialiatski (born 1962), the Russian human rights organisation Memorial (founded in 1989) and the Ukrainian human rights organisation Center for Civil Liberties (founded in 2007). The citation given by the Norwegian Nobel Committee were the following:


title: 2022 Nobel Peace Prize

text: In Ukraine the joint awarding to organisations from Ukraine, Russia and Belarus was criticised by journalists for allegedly upholding the Russian nationalist stereotype of the "three brotherly people." The choice of the committee to award the prize while Russia and Ukraine were at war (with Belarus giving logistical support to the Russian army) was also criticised. According to the Center for Civil Liberties (in a press conference on 8 October 2022) "In no way should this award sound like an old narrative about fraternal nations" but "this story is about resistance to common evil." At the time of the press conference neither Ukrainian President Volodymyr Zelenskyy nor any other (Ukrainian) government official had congratulated the Center for Civil Liberties on winning the Nobel Prize.


title: 2022 Nobel Peace Prize

text: Prior to his 2022 Ales Bialiatski's Nobel Peace Prize, he was nominated five times unsuccessfully. According to the Nobel Committee, there were 343 candidates for the 2022 Nobel Peace Prize, out of which 251 are individuals and 92 are organisations, becoming the second highest number recorded in history.


title: 2022 Nobel Peace Prize

text: The members of the Norwegian Nobel Committee that are responsible for selecting the laureate in accordance with the will of Alfred Nobel are the same as last year:


title: Failure rate

text: Failure rate is the frequency with which an engineered system or component fails, expressed in failures per unit of time. It is usually denoted by the Greek letter λ (lambda) and is often used in reliability engineering.


title: Failure rate

text: The failure rate of a system usually depends on time, with the rate varying over the life cycle of the system. For example, an automobile's failure rate in its fifth year of service may be many times greater than its failure rate during its first year of service. One does not expect to replace an exhaust pipe, overhaul the brakes, or have major transmission problems in a new vehicle.


title: Failure rate

text: In practice, the mean time between failures (MTBF, 1/λ) is often reported instead of the failure rate. This is valid and useful if the failure rate may be assumed constant – often used for complex units / systems, electronics – and is a general agreement in some reliability standards (Military and Aerospace). It does in this case "only" relate to the flat region of the bathtub curve, which is also called the "useful life period". Because of this, it is incorrect to extrapolate MTBF to give an estimate of the service lifetime of a component, which will typically be much less than suggested by the MTBF due to the much higher failure rates in the "end-of-life wearout" part of the "bathtub curve".


title: Failure rate

text: The reason for the preferred use for MTBF numbers is that the use of large positive numbers (such as 2000 hours) is more intuitive and easier to remember than very small numbers (such as 0.0005 per hour).


title: Failure rate

text: The MTBF is an important system parameter in systems where failure rate needs to be managed, in particular for safety systems. The MTBF appears frequently in the engineering design requirements, and governs frequency of required system maintenance and inspections. In special processes called renewal processes, where the time to recover from failure can be neglected and the likelihood of failure remains constant with respect to time, the failure rate is simply the multiplicative inverse of the MTBF (1/λ).


title: Failure rate

text: A similar ratio used in the transport industries, especially in railways and trucking is "mean distance between failures", a variation which attempts to correlate actual loaded distances to similar reliability needs and practices.


title: Failure rate

text: Failure rates are important factors in the insurance, finance, commerce and regulatory industries and fundamental to the design of safe systems in a wide variety of applications.


title: Failure rate

text: , the method can predict product level failure rate and failure mode data for a given application. The predictions have been shown to be more accurate than field warranty return analysis or even typical field failure analysis given that these methods depend on reports that typically do not have sufficient detail information in failure records.


title: Failure rate

text: Although the failure rate, formula_1, is often thought of as the probability that a failure occurs in a specified interval given no failure before time formula_2, it is not actually a probability because it can exceed 1. Erroneous expression of the failure rate in % could result in incorrect perception of the measure, especially if it would be measured from repairable systems and multiple systems with non-constant failure rates or different operation times. It can be defined with the aid of the reliability function, also called the survival function, formula_3, the probability of no failure before time formula_2.


title: Failure rate

text: over a time interval formula_8 = formula_9 from formula_10 (or formula_2) to formula_12. Note that this is a conditional probability, where the condition is that no failure has occurred before time formula_2. Hence the formula_14 in the denominator.


title: Failure rate

text: Hazard rate and ROCOF (rate of occurrence of failures) are often incorrectly seen as the same and equal to the failure rate. To clarify; the more promptly items are repaired, the sooner they will break again, so the higher the ROCOF. The hazard rate is however independent of the time to repair and of the logistic delay time.


title: Failure rate

text: Calculating the failure rate for ever smaller intervals of time results in the (also called hazard rate), formula_15. This becomes the "instantaneous" failure rate or we say instantaneous hazard rate as formula_16 approaches to zero:


title: Failure rate

text: A continuous failure rate depends on the existence of a failure distribution, formula_18, which is a cumulative distribution function that describes the probability of failure (at least) up to and including time "t",


title: Failure rate

text: Many probability distributions can be used to model the failure distribution ("see List of important probability distributions"). A common model is the exponential failure distribution,


title: Failure rate

text: Thus, for an exponential failure distribution, the hazard rate is a constant with respect to time (that is, the distribution is "memory-less"). For other distributions, such as a Weibull distribution or a log-normal distribution, the hazard function may not be constant with respect to time. For some such as the deterministic distribution it is monotonic increasing (analogous to "wearing out"), for others such as the Pareto distribution it is monotonic decreasing (analogous to "burning in"), while for many it is not monotonic.


title: Failure rate

text: A decreasing failure rate (DFR) describes a phenomenon where the probability of an event in a fixed time interval in the future decreases over time. A decreasing failure rate can describe a period of "infant mortality" where earlier failures are eliminated or corrected and corresponds to the situation where λ("t") is a decreasing function.


title: Failure rate

text: Mixtures of DFR variables are DFR. Mixtures of exponentially distributed random variables are hyperexponentially distributed.


title: Failure rate

text: For a renewal process with DFR renewal function, inter-renewal times are concave. Brown conjectured the converse, that DFR is also necessary for the inter-renewal times to be concave, however it has been shown that this conjecture holds neither in the discrete case nor in the continuous case.


title: Failure rate

text: Increasing failure rate is an intuitive concept caused by components wearing out. Decreasing failure rate describes a system which improves with age.


title: Failure rate

text: Decreasing failure rates have been found in the lifetimes of spacecraft, Baker and Baker commenting that "those spacecraft that last, last on and on." The reliability of aircraft air conditioning systems were individually found to have an exponential distribution, and thus in the pooled population a DFR.


title: Failure rate

text: When the failure rate is decreasing the coefficient of variation is ⩾ 1, and when the failure rate is increasing the coefficient of variation is ⩽ 1. Note that this result only holds when the failure rate is defined for all t ⩾ 0 and that the converse result (coefficient of variation determining nature of failure rate) does not hold.


title: Failure rate

text: Failure rates can be expressed using any measure of time, but hours is the most common unit in practice. Other units, such as miles, revolutions, etc., can also be used in place of "time" units.


title: Failure rate

text: Failure rates are often expressed in engineering notation as failures per million, or 10, especially for individual components, since their failure rates are often very low.


title: Failure rate

text: The Failures In Time (FIT) rate of a device is the number of failures that can be expected in one billion (10) device-hours of operation.


title: Failure rate

text: (E.g. 1000 devices for 1 million hours, or 1 million devices for 1000 hours each, or some other combination.) This term is used particularly by the semiconductor industry.


title: Failure rate

text: Under certain engineering assumptions (e.g. besides the above assumptions for a constant failure rate, the assumption that the considered system has no relevant redundancies), the failure rate for a complex system is simply the sum of the individual failure rates of its components, as long as the units are consistent, e.g. failures per million hours. This permits testing of individual components or subsystems, whose failure rates are then added to obtain the total system failure rate.


title: Failure rate

text: Adding "redundant" components to eliminate a single point of failure improves the mission failure rate, but makes the series failure rate (also called the logistics failure rate) worse—the extra components improve the mean time between critical failures (MTBCF), even though the mean time before something fails is worse.


title: Failure rate

text: Suppose it is desired to estimate the failure rate of a certain component. A test can be performed to estimate its failure rate. Ten identical components are each tested until they either fail or reach 1000 hours, at which time the test is terminated for that component. (The level of statistical confidence is not considered in this example.) The results are as follows:


title: Thomas Winkler

text: Thomas Laszlo Winkler (born 20 November 1985) is a Swiss heavy metal singer and notary. He is most famous for being the former vocalist of Symphonic Power Metal band Gloryhammer from 2011 to 2021, playing the roles of "Angus McFife, Prince of the Land of Fife" and his descendant "Angus McFife XIII" in the band's internal story.


title: Thomas Winkler

text: Born in Zollikofen, Bern, Switzerland, Winkler started his music career in 2009 after finishing his studies at the University of Bern as Master of Law by joining Swiss heavy metal bands Emerald and T-Rage.


title: Thomas Winkler

text: Winkler has also lent his voice to Chinese power metal band Barque of Dante for their single "Way of Your Life" in 2011 and stated he would contribute vocals for their second studio album "Lasting Forever".


title: Thomas Winkler

text: In 2010, he uploaded a video to YouTube of himself auditioning for the British power metal band DragonForce. He was later discovered by Christopher Bowes, vocalist of the Scottish-based pirate metal band Alestorm, then was then offered to join Gloryhammer. He initially declined but joined sometime later after several more offers.


title: Thomas Winkler

text: On 22 August 2021, Gloryhammer announced that Thomas Winkler was no longer a member of the band. Thomas later addressed the situation, citing the band's reasons for his departure as disagreements on business and organizational matters.


title: Thomas Winkler

text: On 4 July 2022, Thomas announced that he would be returning to music-making, and he had signed with Napalm Records under his new act Angus McSix. On 10 October 2022, the full lineup for Angus McSix was announced, with Winkler being joined by Thalìa Bellazecca, Manu Lotter and Sebastian Levermann whom will represent characters in the story concept and appear in costumes. The band's first single is set to be released by the end of the year.


title: Ali Smith

text: Ali Smith CBE FRSL (born 24 August 1962) is a Scottish author, playwright, academic and journalist. Sebastian Barry described her in 2016 as "Scotland's Nobel laureate-in-waiting".


title: Ali Smith

text: Smith was born in Inverness on 24 August 1962 to Ann and Donald Smith. Her parents were working-class and she was raised in a council house in Inverness. From 1967 to 1974 she attended St. Joseph's RC Primary school, then went on to Inverness High School, leaving in 1980.


title: Ali Smith

text: She studied a joint degree in English language and literature at the University of Aberdeen from 1980 to 1985, coming first in her class in 1982 and gaining a top first in Senior Honours English in 1984. She won the University's Bobby Aitken Memorial Prize for Poetry in 1984.


title: Ali Smith

text: From 1985 to 1990 she attended Newnham College, Cambridge, studying for a PhD in American and Irish modernism. During her time at Cambridge, she began writing plays and as a result did not complete her doctorate.


title: Ali Smith

text: Smith moved to Edinburgh from Cambridge in 1990 and worked as a lecturer in Scottish, English and American literature at the University of Strathclyde. She left the university in 1992 because she was suffering from chronic fatigue syndrome. She returned to Cambridge to recuperate.


title: Ali Smith

text: As a young woman, Smith held several part-time jobs including a waitress, lettuce-cleaner, tourist board assistant, receptionist at BBC Highland and advertising copywriter.


title: Ali Smith

text: While studying for her PhD at Cambridge, Smith wrote several plays which were staged at the Edinburgh Festival Fringe and Cambridge Footlights. After some time working in Scotland, she returned to Cambridge to concentrate on her writing, in particular, focussing on short stories and freelancing as the fiction reviewer for "The Scotsman" newspaper. In 1995 she published her first book, "Free Love and Other Stories", a collection of 12 short stories which won the Saltire First Book of the Year award and Scottish Arts Council Book Award.


title: Ali Smith

text: She writes articles for "The Guardian", "The Scotsman", "New Statesman" and the "Times Literary Supplement".


title: Ali Smith

text: In 2009, she donated the short story "Last" (previously published in the "Manchester Review" online) to Oxfam's 'Ox-Tales' project, four collections of UK stories written by 38 authors. Her story was published in the 'Fire' collection.


title: Ali Smith

text: In 2007, Smith was elected a Fellow of the Royal Society of Literature She was appointed Commander of the Order of the British Empire (CBE) in the 2015 New Year Honours for services to literature.


title: Peace dollar

text: The Peace dollar is a United States dollar coin minted for circulation from 1921 to 1928 and in 1934 and 1935, and beginning again in 2021. Designed by Anthony de Francisci, the coin was the result of a competition to find designs emblematic of peace. Its obverse represents the head and neck of the Goddess of Liberty in profile, and the reverse depicts a bald eagle at rest clutching an olive branch, with the legend "Peace". It was the last United States dollar coin to be struck for circulation in silver.


title: Peace dollar

text: With the passage of the Pittman Act in 1918, the United States Mint was required to strike millions of silver dollars, and began to do so in 1921, using the Morgan dollar design. Numismatists began to lobby the Mint to issue a coin that memorialized the peace following World War I; although they failed to get Congress to pass a bill requiring the redesign, they were able to persuade government officials to take action. The Peace dollar was approved by Treasury Secretary Andrew Mellon in December 1921, completing the redesign of United States coinage that had begun in 1907.


title: Peace dollar

text: The public believed the announced design, which included a broken sword, was illustrative of defeat, and the Mint hastily acted to remove the sword. The Peace dollar was first struck on December 28, 1921; just over a million were coined bearing a 1921 date. When the Pittman Act requirements were met in 1928, the mint ceased production of the coins, but more were struck during 1934 and 1935 as a result of further legislation. In 1965, amid much controversy, the Denver mint struck over 316,000 Peace dollars dated 1964, but these were never issued, and all are believed to have been melted.


title: Peace dollar

text: In 2021, the U.S. Mint produced a special 2021 issue Peace Dollar to celebrate the design’s 100th anniversary, with minting of the coins to continue from 2023 onwards.


title: Peace dollar

text: The Bland–Allison Act, passed by Congress on February 28, 1878, required the Treasury to purchase a minimum of $2 million in domestically mined silver per month and coin it into silver dollars. The Mint used a new design by engraver George T. Morgan, and struck what became known as the Morgan dollar. Many of the pieces quickly vanished into bank vaults for use as backing for paper currency redeemable in silver coin, known as silver certificates. In 1890, the purchases required under the Bland–Allison Act were greatly increased under the terms of the Sherman Silver Purchase Act. Although the Sherman Act was repealed in 1893, it was not until 1904 that the government struck the last of the purchased silver into dollars. Once it did, production of the coin ceased.


title: Peace dollar

text: During World War I, the German government hoped to destabilize British rule over India by spreading rumors that the British were unable to redeem for silver all of the paper currency they had printed. These rumors, and hoarding of silver, caused the price of silver to rise and risked damaging the British war effort. The British turned to their war ally, the United States, asking to purchase silver to increase the supply and lower the price. In response, Congress passed the Pittman Act of April 23, 1918. This statute gave the United States authority to sell metal to the British government from up to 350,000,000 silver dollars at $1 per ounce of silver plus the value of the copper in the coins, and handling and transportation fees. Only 270,232,722 coins were melted for sale to the British, but this represented 47% of all Morgan dollars struck to that point. The Treasury was required by the terms of the Act to strike new silver dollars to replace the coins that were melted, and to strike them from silver purchased from American mining companies.


title: Peace dollar

text: It is uncertain who originated the idea for a US coin to commemorate the peace following World War I; the genesis is usually traced to an article by Frank Duffield published in the November 1918 issue of "The Numismatist". Duffield suggested that a victory coin should be "issued in such quantities it will never become rare". In August 1920, a paper by numismatist Farran Zerbe was read to that year's American Numismatic Association (ANA) convention in Chicago. In the paper, entitled "Commemorate the Peace with a Coin for Circulation", Zerbe called for the issuance of a coin to celebrate peace, stating,


title: Peace dollar

text: Zerbe's proposal led to the appointment of a committee to transmit the proposal to Congress and urge its adoption. According to numismatic historian Walter Breen, "Apparently, this was the first time that a coin collector ever wielded enough political clout to influence not only the Bureau of the Mint, but Congress as well." The committee included noted coin collector and Congressman William A. Ashbrook (Democrat–Ohio), who had chaired the House Committee on Coinage, Weights, and Measures until the Republicans gained control following the 1918 elections.


title: Peace dollar

text: Ashbrook was defeated for re-election in the 1920 elections; at that time congressional terms did not end until March 4 of the following year. He was friendly with the new committee chairman Albert Henry Vestal (Republican–Indiana), and persuaded him to schedule a hearing on the peace coin proposal for December 14, 1920. Though no bill was put before it, the committee heard from the ANA delegates, discussed the matter, and favored the use of the silver dollar, which as a large coin had the most room for an artistic design. The committee took no immediate action; in March 1921, after the Harding administration took office, Vestal met with the new Secretary of the Treasury, Andrew W. Mellon, and Mint Director Raymond T. Baker about the matter, finding them supportive so long as the redesign involved no expense.


title: Peace dollar

text: On May 9, 1921, striking of the Morgan dollar resumed at the Philadelphia Mint under the recoinage called for by the Pittman Act. The same day, Congressman Vestal introduced the Peace dollar authorization bill as a joint resolution. Vestal placed his bill on the Unanimous Consent Calendar, but Congress adjourned for a lengthy recess without taking any action. When Congress returned, Vestal asked for unanimous consent that the bill pass on August 1, 1921. However, one representative, former Republican leader James R. Mann (Illinois) objected, and numismatic historian Roger Burdette suggests that Mann's stature in the House ensured that the bill would not pass. Nevertheless, Vestal met with the ANA and told them that he hoped Congress would reconsider when it met again in December 1921.


title: Peace dollar

text: Sometime after the December 1920 hearing requested by the ANA, the chairman of the U.S. Commission of Fine Arts, Charles Moore, became aware of the proposed congressional action, and decided to investigate. Moore, together with Commission member and Buffalo nickel designer James Earle Fraser, met with Mint Director Baker on May 26, 1921, and they agreed that it would be appropriate to hold a design competition for the proposed dollar, under the auspices of the Commission. This was formalized on July 26 with the Commission's written recommendation to the Mint that a competition, open only to invited sculptors, be used to select designs. The winner of the competition was to receive $1,500 prize money, while all other participants would be given $100. On July 28, President Harding issued Executive Order 3524, requiring that coin designs be submitted to the Commission before approval by the Treasury Secretary. In early September, following the failure of the bill, Baker contacted Moore, putting the matter aside pending congressional action.


title: Peace dollar

text: By November, proponents of the peace coin had realized that congressional approval was not necessary—as the Morgan dollar had been struck for more than 25 years, it was eligible for replacement at the discretion of the Secretary of the Treasury under an 1890 act. The Morgan design was then being used for large quantities of silver dollars as the Mint struck replacements for the melted coins under the Pittman Act. Though Congress had not yet convened, Baker contacted Fraser in early November to discuss details of the design competition. According to Burdette, Baker's newfound enthusiasm came from the fact that President Harding was about to formally declare an end to the war with Germany—a declaration needed because the US had not ratified the Treaty of Versailles. In addition, the Washington Conference on disarmament, for which the administration had great hopes, was soon to convene. On November 19, Fraser notified competition participants by personal letter, sending official rules and requirements four days later, with submissions due by December 12. Competition participants included Hermon MacNeil, Victor D. Brenner, and Adolph Weinman, all of whom had designed previous U.S. coins.


title: Peace dollar

text: The artists were instructed to depict the head of Liberty on the obverse, to be made "as beautiful and full of character as possible". The reverse would depict an eagle, as prescribed by the Coinage Act of 1792, but otherwise was left to the discretion of the artist. The piece also had to bear the denomination, the name of the country, "E pluribus unum", the motto "In God We Trust", and the word "Liberty".


title: Peace dollar

text: On December 13, the commission assembled to review the submitted designs, as well as a set produced by Mint Chief Engraver Morgan at Baker's request, and a set, unrequested, from a Mr. Folio of New York City. It is not known how the designs were displayed for the Commission. After considerable discussion among Fraser, Moore, and Herbert Adams (a sculptor and former member of the Commission), a design by Anthony de Francisci was unanimously selected.


title: Peace dollar

text: At age 34, de Francisci was the youngest of the competitors; he was also among the least experienced in the realm of coin design. While most of the others had designed regular or commemorative coins for the Mint, de Francisci's sole effort had been the conversion of drawings for the 1920 Maine commemorative half dollar to the finished design. De Francisci had had little discretion in that project, and later said of the work, "I do not consider it very favorably."


title: Peace dollar

text: The sculptor based the obverse design of Liberty on the features of his wife, Teresa de Francisci. Due to the short length of the competition, he lacked the time to hire a model with the features he envisioned. Teresa de Francisci was born Teresa Cafarelli in Naples, Italy. In interviews, she related that when she was five years old and the steamer on which she and her family were immigrating passed the Statue of Liberty, she was fascinated by the statue, called her family over, and struck a pose in imitation. She later wrote to her brother Rocco,


title: Peace dollar

text: Breen wrote that the radiate crown that the Liberty head bears is not dissimilar to those on certain Roman coins, but is "more explicitly intended to recall that on the Statue of Liberty". Anthony de Francisci recalled that he opened the window of the studio and let the wind blow on his wife's hair as he worked. However, he did not feel that the design depicted her exclusively. He noted that "the nose, the fullness of the mouth are much like my wife's, although the whole face has been elongated". De Francisci submitted two reverse designs; one showed a warlike eagle, aggressively breaking a sword; the other an eagle at rest, holding an olive branch. The latter design, which would form the basis for the reverse of the Peace dollar, recalled de Francisci's failed entry for the Verdun City medal. The submitted obverse is almost identical to the coin as struck, excepting certain details of the face, and that the submitted design used Roman rather than Arabic numerals for the date.


title: Peace dollar

text: Baker, de Francisci, and Moore met in Washington on December 15. At that time, Baker, who hoped to start Peace dollar production in 1921, outlined the tight schedule for this to be accomplished, and requested certain design changes. Among these was the inclusion of the broken sword from the sculptor's alternate reverse design, to be placed under the eagle, on the mountaintop on which it stands, in addition to the olive branch. Baker approved the designs, subject to these changes. The revised designs were presented to President Harding on December 19. Harding insisted on the removal of a small feature of Liberty's face, which seemed to him to suggest a dimple, something he did not consider suggestive of peace, and the sculptor then did so.


title: Peace dollar

text: The Treasury announced the new design on December 19, 1921. Photographs of Baker and de Francisci examining the final plaster model appeared in newspapers, along with written descriptions of the designs, since the Treasury at that time took the position that it was illegal for photographs of a United States coin to be printed in a newspaper. Secretary Mellon gave formal approval to the design on December 20. As it would take the Mint several days to produce working dies, the first strike of the new coins was scheduled for December 29.


title: Peace dollar

text: The new design was widely reported in newspapers, and was the source of intense public attention. A Mint press release described the reverse as "a large figure of an eagle perched on a broken sword, and clutching an olive branch bearing the word, 'peace. On December 21, the "New York Herald" ran a scathing editorial against the new design,


title: Peace dollar

text: At the time, according to Burdette, given the traumas of the Great War, Americans were highly sensitive about their national symbols, and unwilling to allow artists any leeway in interpretation. The Mint, the Treasury, and the Fine Arts Commission began to receive large numbers of letters from the public objecting to the design. De Francisci attempted to defend his design, stating, "with the sword there is the olive branch of peace and the combination of the two renders it impossible to conceive of the sword as a symbolization of defeat". Baker had left Washington to visit the San Francisco Mint, a transcontinental journey of three days. Acting Mint Director Mary Margaret O'Reilly sent him a telegram on December 23, urgently seeking his approval to remove the sword from the reverse, as had been recommended by Moore and Fraser at a meeting the previous afternoon. Due to the tight timeline for 1921 strikings of the dollar, it was not possible to await Baker's response, so on the authority of Treasury Undersecretary Seymour Parker Gilbert, who was approached by O'Reilly, the Mint proceeded with the redesign. To satisfy Harding's executive order, the Fine Arts Commission quickly approved the change, and by the time Baker wired his approval on December 24, without being able to see the revisions, Gilbert had already approved the revised design in Secretary Mellon's absence. A press release was issued late on December 24, stating that the broken sword which had appeared on de Francisci's alternate reverse would not appear on the issued coin. In its December 25 edition, the "Herald" took full credit for the deletion of the broken sword from the coin's design.


title: Peace dollar

text: Farran Zerbe, whose paper to the ANA convention helped launch the dollar proposal, saw de Francisci's defense and the press release, and suggested that the sculptor had mistakenly thought his alternate design had been approved.


title: Peace dollar

text: The removal of the sword from the coinage hub, which had already been produced by reduction from the plaster models, was accomplished by painstaking work by Mint Chief Engraver Morgan, using extremely fine engraving tools under magnification. Morgan did the work on December 23 in the presence of de Francisci, who had been summoned to the Philadelphia Mint to ensure the work met with his approval. It was insufficient merely to remove the sword, as the rest of the design had to be adjusted. Morgan had to hide the excision; he did so by extending the olive branch, previously half-hidden by the sword, but had to remove a small length of stem that showed to the left of the eagle's talons. Morgan also strengthened the rays, and sharpened the appearance of the eagle's leg. The chief engraver did his work with such skill that the work on the dollar was not known for over 85 years.


title: Peace dollar

text: On December 28, Philadelphia Mint Superintendent Freas Styer wired Baker in San Francisco, reporting the first striking of the Peace dollar. The Mint later reported that 1,006,473 pieces were struck in 1921, a rate of output for the four days remaining in the year that Burdette calls "amazing"; he speculates that minting of 1921 Peace dollars continued into 1922. The first coin struck was to be sent to President Harding, but what became of it is something of a mystery: O'Reilly indicated that she had the coin sent to Harding, but the inventory of Harding's estate, prepared after the President died in office less than two years later, does not mention it, nor is there any mention of the coin in Harding's papers. Breen, in his earlier book on U.S. coins, stated that the coin was delivered to Harding by messenger on January 3, 1922, but does not state the source of his information. A few proofs of the 1921 production were struck early in the run, in both satin and matte finishes, but it is unknown exactly how many with either finish were created; numismatic historians Leroy Van Allen and A. George Mallis estimate the mintage totals at 24 of the former and five of the latter.


title: Peace dollar

text: The Peace dollar was released into circulation on January 3, 1922. In common with all silver and copper-nickel dollar coins struck from 1840 to 1978, the Peace dollar had a diameter of , which was larger than the Mint's subsequently struck modern dollar coins. Its issuance completed the redesign of United States coinage that had begun with issues in 1907. Long lines formed at the Sub-Treasury Building in New York the following day when that city's Federal Reserve Bank received a shipment; the 75,000 coins initially sent by the Mint were "practically exhausted" by the end of the day. Rumors that the coins did not stack well were contradicted by bank cashiers, who demonstrated for "The New York Times" that the coins stacked about as well as the Morgan dollars. De Francisci had paid Morgan for 50 of the new dollars; on January 3, Morgan sent him the pieces. According to his wife, de Francisci had bet several people that he would lose the design competition; he used the pieces to pay off the bets and did not keep any.


title: Peace dollar

text: From the start, the Mint found that excessive pressure had to be applied to fully bring out the design of the coin, and the dies broke rapidly. On January 10, 1922, O'Reilly, still serving as Acting Mint Director in Baker's absence, ordered production of the dollar stopped. Dies had been sent to the Denver and San Francisco mints in anticipation of beginning coinage there; they were ordered not to begin work until the difficulties had been resolved. The Commission of Fine Arts was asked to advise what changes might solve the problems. Both Fraser and de Francisci were called to Philadelphia, and after repeated attempts to solve the problem without reducing the relief failed, de Francisci agreed to modify his design to reduce the relief. The plaster models he prepared were reduced to coin size using the Mint's Janvier reducing lathe. However, even after 15 years of possessing the pantograph-like device, the Mint had no expert in its use on its staff, and, according to Burdette, "[h]ad a technician from Tiffany's or Medallic Art [Company] been called in, the 1922 low relief coins might have turned out noticeably better than they did".


title: Peace dollar

text: Approximately 32,400 coins on which Morgan had tried to keep a higher relief were struck in January 1922. While all were believed to have been melted, one circulated example has surfaced. Also, high relief 1922 proof dollars occasionally appear on the market and it is believed that about six to 10 of them exist. The new low-relief coins, which Fraser accepted on behalf of the Commission, though under protest, were given limited production runs in Philadelphia in early February. When the results proved satisfactory, San Francisco began striking its first Peace dollars using the low-relief design on February 13, with Denver initiating production on February 21, and Philadelphia on February 23. The three mints together struck over 84 million pieces in 1922.


title: Peace dollar

text: The 1926 Peace dollar, from all mints, has on the obverse the word "God", slightly boldened. The Peace dollar's lettering tended to strike indistinctly, and Burdette suggests that the new chief engraver, John R. Sinnock (who succeeded Morgan after his death in 1925), may have begun work in the middle of the motto "In God We Trust", and for reasons unknown, only the one word was boldened. No Mint records mention the matter, which was not discovered until 1999.


title: Peace dollar

text: The Peace dollar circulated mainly in the Western United States, where coins were preferred over paper money, and saw little circulation elsewhere. Aside from this use, the coins were retained in vaults as part of bank reserves. They would frequently be obtained from banks as Christmas presents, with most deposited again in January. With the last of the Pittman Act silver struck into coins in 1928, the Mint ceased the production of Peace dollars.


title: Peace dollar

text: Production of Peace dollars resumed in 1934, due to another congressional act; this one requiring the Mint to purchase large quantities of domestic silver, a commodity whose price was at a historic low. This Act assured producers of a ready market for their product, with the Mint gaining a large profit in seigniorage, through monetizing cheaply purchased silver—the Mint in fact paid for some shipments of silver bullion in silver dollars. Pursuant to this authorization, over seven million silver Peace dollars were struck in 1934 and 1935. Mint officials gave consideration to striking 1936 silver dollars, and in fact prepared working dies, but as there was no commercial demand for them, none was actually struck. With Mint Chief Engraver Sinnock thinking it unlikely that there would be future demand for the denomination, the master dies were ordered destroyed in January 1937.


title: Peace dollar

text: On August 3, 1964, Congress passed legislation providing for the striking of 45,000,000 silver dollars. Silver coins, including the dollar, had become scarce due to hoarding as the price of silver rose past the point at which a silver dollar was worth more as bullion than as currency. The new coins were intended to be used at Nevada casinos and elsewhere in the West where "hard money" was popular. Many in the numismatic press complained that the new silver dollars would only satisfy a small special interest, and would do nothing to alleviate the general coin shortage. Much of the pressure for the coins to be struck was being applied by the Senate Majority Leader, Mike Mansfield (Democrat–Montana), who represented a state that heavily used silver dollars. Preparations for the striking proceeded at a reluctant Mint Bureau. Some working dies had survived Sinnock's 1937 destruction order, but were found to be in poor condition, and Mint Assistant Engraver (later Chief Engraver) Frank Gasparro was authorized to produce new ones. Mint officials had also considered using the Morgan Dollar design; this idea was dropped and Gasparro replicated the Peace dollar dies. The reverse dies all bore Denver mintmarks; as the coins were slated for circulation in the West, it was deemed logical to strike them nearby.


title: Peace dollar

text: Treasury Secretary C. Douglas Dillon was strongly opposed to restriking the Peace dollar and in early 1965 informed President Lyndon Johnson that such coins would be unlikely to circulate in Montana, nor anywhere else; they would simply be hoarded. Nevertheless, Dillon concluded that as Senator Mansfield insisted, they would have to be struck. Dillon resigned on April 1; his successor, Henry H. Fowler, was immediately questioned by Mansfield about the dollars, and he assured the senator that things would be worked out to his satisfaction. Mint Director Eva Adams was also against striking the silver dollars, but hoped to keep the $600,000 appropriated for that expense. Senator Mansfield refused to consider any cancellation or delay and on May 12, 1965, the Denver Mint began trial strikes of the 1964-D Peace dollar—the Mint had obtained congressional authorization to continue striking 1964-dated coins into 1965.


title: Peace dollar

text: The new pieces were publicly announced on May 15, 1965, and coin dealers immediately offered $7.50 each for them, ensuring that they would not circulate. The public announcement prompted a storm of objections. Both the public and many congressmen saw the issue as a poor use of Mint resources during a severe coin shortage, which would only benefit coin dealers. On May 24, one day before a hastily called congressional hearing, Adams suddenly announced that the pieces were deemed trial strikes, never intended for circulation. The Mint later stated that 316,076 dollars had been struck; all were reported melted amid heavy security. To ensure that there would be no repetition, Congress inserted a provision in the Coinage Act of 1965 forbidding the coinage of silver dollars for five years. No 1964-D Peace dollars are known to exist in either public or private hands. In 1970, two unknown specimens were discovered in a Treasury vault and were ordered destroyed. Rumors and speculation about others surviving in illegal private possession immediately began and continue to appear from time to time. Pieces appearing to be 1964-D dollars have also been privately restruck using unofficial dies and genuine, earlier-date Peace dollars.


title: Peace dollar

text: Some Peace dollars using an experimental base metal composition were struck in 1970 in anticipation of the approval of the Eisenhower dollar; they are all presumed destroyed. This new dollar coin was approved by an act signed by President Richard Nixon on December 31, 1970, with the obverse to depict President Dwight D. Eisenhower, who had died in March, 1969. Circulating Eisenhower dollars contained no precious metal, though some for collectors were struck in 40% silver.


title: Peace dollar

text: On January 5, 2021, President Donald Trump signed legislation to issue Morgan and Peace dollars in 2021 to mark the centennial of the transition between the two designs.


title: Peace dollar

text: The US Mint released order information in the spring, with the coins priced at $85. The coins were released in "0.858 troy oz. of .999 fine silver with an uncirculated finish" Peace Dollars were available beginning August 10, 2021, shipped at the beginning of the next fiscal year, in October 2021. They have no mint mark, as the original coins from Philadelphia had none, and a Household Order Limit of 3.


title: Peace dollar

text: The US Mint originally decided to continue the Morgan and Peace Dollar program for 2022 and beyond minted in San Francisco (S) with a proof finish, but on March 14, 2022, announced that the planned 2022 releases had been scrapped due to "supply chain issues, production capacity and shipping logistics", and the rising price of silver, with plans to resume the program in 2023.


title: Peace dollar

text: None of the Peace dollar mintages is particularly rare, and "A Guide Book of United States Coins" (or Red Book) lists low-grade circulated specimens for most years for little more than the coin's bullion value. Two exceptions are the first year of issue 1921 Peace dollar, minted only at the Philadelphia mint and issued in high relief, and the low-mintage 1928-P Peace dollar. The prices for the 1928-P dollar are much lower than its mintage of 360,649 would suggest, because the U.S. mint announced that limited quantities would be produced and many were saved. In contrast the 1934-S dollar was not saved in great numbers so that prices for circulated specimens are fairly inexpensive but mid-grade uncirculated specimens can cost thousands of dollars.


title: Frank Sinatra filmography

text: Frank Sinatra (1915–1998) was an American singer, actor, and producer who was one of the most popular and influential musical artists of the 20th century. Over the course of his acting career he created a body of work that one biographer described as being "as varied, impressive and rewarding as that of any other Hollywood star".


title: Frank Sinatra filmography

text: Sinatra began his career as a singer, initially in his native Hoboken, New Jersey, but increasing success led to a contract to perform on stage and radio across the United States. One of his earliest film roles was in the 1935 short film "Major Bowes' Amateur Theatre of the Air", a spin off from the "Major Bowes Amateur Hour" radio show. He appeared in a full-length film in an uncredited cameo singing performance in "Las Vegas Nights", singing "I'll Never Smile Again" with Tommy Dorsey's The Pied Pipers. His work with Dorsey's band also led to appearances in the full-length films "Las Vegas Nights" (1941) and "Ship Ahoy" (1942). As Sinatra's singing career grew, he appeared in larger roles in feature films, several of which were musicals, including three alongside Gene Kelly: "Anchors Aweigh" (1945), "On the Town" (1949) and "Take Me Out to the Ball Game" (1949). As his acting career developed further, Sinatra also produced several of the films in which he appeared, and directed one—"None but the Brave"—which he also produced and in which he starred.


title: Frank Sinatra filmography

text: Sinatra's film and singing careers had declined by 1952, when he was out-of-contract with both his record company and film studio. In 1953 he re-kindled his film career by targeting serious roles: he auditioned for—and won—a role in "From Here to Eternity" for which he won the Academy Award for Best Supporting Actor and the Golden Globe for Best Supporting Actor – Motion Picture. Other serious roles followed, including a portrayal of an ex-convict and drug addict in "The Man with the Golden Arm", for which he was nominated for the Academy Award for Best Actor and the British Academy Film Award for the Best Actor in a Leading Role.


title: Frank Sinatra filmography

text: Sinatra received numerous awards for his film work. He won the Golden Globe for Best Actor – Motion Picture Musical or Comedy for "Pal Joey" (1957), and was nominated in the same category for "Come Blow Your Horn" (1963). Three of the films in which Sinatra appears, "The House I Live In" (1945), "The Manchurian Candidate" (1962) and "From Here to Eternity" (1953)—have been added to the Library of Congress's National Film Registry. "The House I Live In"—a film that opposes anti-Semitism and racism—was awarded a special Golden Globe and Academy Award. In 1970, at the 43rd Academy Awards, Sinatra was presented with the Jean Hersholt Humanitarian Award; the following year he was awarded the Golden Globe Cecil B. DeMille Award.


Me. I Am Mariah... The Elusive Chanteuse is the fourteenth studio album by American singer-songwriter Mariah Carey, released on May 23, 2014, on Def Jam Recordings. The record had been in development since 2011; during its production, Carey hired collaborator Randy Jackson to manage her career, before firing and replacing him with another frequent collaborator, Jermaine Dupri. The album consists of guest appearances from Nas, Miguel, Wale, and Fabolous, in addition to Carey's twins Moroccan and Monroe. On the deluxe edition of the album, R. Kelly and Mary J. Blige respectively make appearances on remixes of two songs, "Betcha Gon’ Know" and "It's a Wrap", taken from Carey's twelfth studio album "Memoirs of an Imperfect Angel" (2009). These remixes were originally intended to appear on Carey's cancelled remix album, "Angel's Advocate" (2010).


title: Me. I Am Mariah... The Elusive Chanteuse

text: The album was initially titled "The Art of Letting Go", and was scheduled for release in 2012, however, following the commercial failure of the single, "Triumphant (Get 'Em)", featuring Rick Ross and Meek Mill, additional songs were recorded for the album causing the release date to be pushed back several times by the record company throughout 2013 and again in 2014. Together with Bryan Michael Cox, Carey and Dupri were executive producers on the album. It is named after a self-portrait that Carey drew as a very young girl that she captioned "Me. I Am Mariah". The portion of the album called "The Elusive Chanteuse" is a nickname Carey gave herself for the album.


text: "Me. I Am Mariah... The Elusive Chanteuse" was promoted through several media appearances by Carey, as well as The Elusive Chanteuse Show. Singles released from the album included the US Hot 100 top twenty song "#Beautiful" (a duet with Miguel). Other singles included "The Art of Letting Go", "You're Mine (Eternal)", and "You Don't Know What to Do" (featuring rapper Wale), all of which failed to chart on the US Hot 100, with the exception of "You're Mine (Eternal)", a minor hit peaking at number eighty-eight. Although the re-release of her 2002 album "Charmbracelet" was issued with a Parental Advisory warning in some territories, "Me. I Am Mariah..." is Carey's first studio album to bear the warning in the United States.


text: On September 29, 2009, Carey's twelfth studio album, "Memoirs of an Imperfect Angel", was released. Following the cancellation of "Angels Advocate", a remix album of "Memoirs of an Imperfect Angel", it was announced that Carey would return to the studio to start work on her thirteenth studio album. It was later revealed that it would be her second Christmas album. The album, titled "Merry Christmas II You", was released alongside an accompanying DVD, and was sent to retailers on November 2, 2010. "Merry Christmas II You" debuted at number four on the "Billboard" 200 with sales of 56,000 copies. It also became Carey's 16th top ten album in the United States. The album debuted at number one on the R&B/Hip-Hop Albums chart, making it only the second Christmas album to top this chart. Following the birth of her children, Carey began work on her fourteenth studio album.


text: The first indication that Carey had begun work on her fourteenth studio album was in February 2011, with Carey stating: "I start writing for my new album this week-but it's just the beginning..." In March 2011, Carey's representative said she will donate royalties for the song "Save the Day", which she had written for her upcoming studio album, to charities that create awareness for human-rights issues. Her husband Nick Cannon told "Billboard" in May 2011 that Carey had already completed a good amount of recording for a new album, a few months before during her pregnancy: "She's planning on having a [new single] out this year. She's been working away, and we have a studio in the crib, and [the pregnancy] has totally inspired her on so many different levels." Additionally, Cannon confirmed that Carey was inspired by her debut self-titled album and its follow-up, "Emotions".


text: In January 2012, Cannon updated everyone on the album, saying: "My beautiful wife is planning to make her return to the music scene after taking time off to focus on the pregnancy and the birth of our two wonderful babies, Moroccan and Monroe." On August 3, 2012, Carey released "Triumphant (Get 'Em)", a collaboration with rappers Rick Ross and Meek Mill, which was originally claimed to be the lead single for her upcoming studio album. The single garnered low impact both critically and commercially, and was eventually removed from the album. The Island Def Jam Music Group was shuttered by Universal Music Group on April 1, 2014. Island Records and Def Jam Recordings operate as separate entities, with Carey being transferred from Island to Def Jam.


text: In September 2011, producer and friend Jermaine Dupri took to his social network Global14 to reveal that he's back in the studio with Carey working on new music. In August 2012, Bryan Michael Cox said about the album: "She was committed to making it before she got pregnant. Then she got pregnant and she took the time off. Then after she came back, we started really vibing again and we picked up right where we left off. I just feel like between [record producer] Jermaine Dupri, myself and her, we came up with a few things that [are] really, really a solid body of work". In September 2012, Carey was in the studio with R. Kelly.


text: Carey said about her fourteenth studio album: "I'm collaborating with a lot of my favorite people but the main thing is [that] I'm not trying to follow any particular trend, I want it to be well received. I want to stay true to myself and the music that I love and make the fans happy". Some of the people that Carey worked with on the album include: DJ Clue?, Randy Jackson, Q-Tip, R. Kelly, David Morales, Loris Holland, Stevie J, James Fauntleroy, Ray Angry, Jermaine Dupri, Bryan-Michael Cox, James "Big Jim" Wright, Hit-Boy, The-Dream, Da Brat, and Rodney Jerkins.


text: Carey gave "Billboard" an exclusive interview in their March 9, 2013, issue, stating: "It's about making sure I have tons of good music, because at the end of the day, that's the most important thing... There are a lot more raw ballads than people might expect... there are also uptempo and signature-type songs that represent [my] different facets as an artist... Wherever we go with this project, I've tried to keep the soul and heart in it." "Billboard" also asked Carey about the title of the album, but she declined to reveal it. In late March 2013, Carey stated that she "has more than enough songs" but "she's in the process of finishing things and mixing and all that".


text: In mid-2013, she was seen in the studio on separate occasions with Mike Will Made It and Young Jeezy, Wale, and Nas. In October 2013, Jermaine Dupri was announced as Carey's new manager.


text: In an interview in February 2014, Carey added that there are songs on the album that are about her husband Nick Cannon as well as songs that she wrote specifically for her twins Moroccan and Monroe. That same month, Carey announced to MTV News that she has added three new songs to the track list, 1 extra Hitboy record and two new remixes and stated that she is in the process of choosing a new title for the album. The two remixes are of the songs "Betcha Gon' Know" and "It's a Wrap", previously featured on 2009's "Memoirs of an Imperfect Angel"; R. Kelly features on the former, while Mary J. Blige features on the latter. The cover versions were confirmed to be George Michael's 1988 single, "One More Try", and cover of a Mary Mary song, "Can't Give Up Now", with a slightly different arrangement and additional writing credit by Carey. There is also a cover of the patriotic song "America the Beautiful" for the Japanese CD edition of the album.


text: Consisting of fifteen songs and four deluxe songs "Me. I Am Mariah... The Elusive Chanteuse" is an R&B album with a diverse musical style that incorporates hip hop, hip hop soul, soul and elements of disco and gospel.


text: Mike Wass of Idolator described the album as being a concept album that journeys through the eras of R&B, from Motown to the '90s, disco and early hip-hop.


text: Writing for "The Boston Globe", Sarah Rodman said ""Me. I Am Mariah"... offers up rhythmic hip-hop pop, gospel-inflected power ballads, old-school soul, and straight-up disco fantasias"; Rodman described the album's production as being built over a "pulsating atmosphere" and "fidgety rhythmic tracks."


text: Jim Farber of "New York Daily News" cited the album as a return from her previous studio album "Memoirs of an Imperfect Angel" (2009), which Fader described as a "disastrous", Farber noted the album's musical content as containing "grand balladry, and formal melodies."


text: Melissa Maerz of "Entertainment Weekly", noted "nostalgia" to be a big and recurring theme both lyrically and musically, continuing to comment on this saying the "arrangements that borrow from Inner Life's disco rave-up 'I'm Caught Up (In a One Night Love Affair)' and the O'Jays' Philly-soul classic 'Let Me Make Love to You'."


text: Eric Henderson of "Slant Magazine" noted the album's lyrics to be "personal, crazy. Crazy personal," Henderson continued calling the album's lyrical content an "deliberately confusing innocence with insight, obliviousness with bliss."


text: Carey's voice on the album was described by Elysa Gardner of "USA Today", as "artful melisma, robust belting and decorative high notes." Gardner continued, noting Mariah's use of her "supple middle and lower registers to convey feeling simply and directly."


text: The album opens with "Cry", a gospel song built over a piano, "simmering vocals and full-bodied runs" containing "swirling organs and scaling ad-lib." Described by "Billboard" magazine as being one of the album's most "heaviest moments," lyrically the song discusses Carey's desire to hold a lover until they both start "bawling." "Faded" is a "luscious" R&B song produced by Mike Will Made It, the song and Carey's vocals feature "climaxes" with the song taking influence from R&B hip-hop and pop genres. "Dedicated" features American rapper Nas, the song contains a sample from "Da Mystery of Chessboxin'" as performed by Wu-Tang Clan and lyrically discusses nostalgia, with Mariah and Nas looking back at their past relationships and how they have shaped their lives.


text: "#Beautiful" is a mid-tempo and stripped down R&B and soul music song. Carey's "big vocals" combined with Miguel's "signature eclectic rock and roll sound" results in "#Beautiful" having an old school vibe to it reminiscent of the Stax Records/Motown Records era, according to a reviewer for The Honesty Hour. "Thirsty" is a "club-friendly" hip hop and R&B song, which lasts for a duration of three minutes and 26 seconds. "Thirsty" is about how Carey's lover has a thirst for fame which causes her to drown in her own misery. American rapper Rich Homie Quan performs background chants on "Thirsty", although he is not credited on the album track list. He does, however, appear as a featured artist on a shortened alternate version of the song, and performs one rap verse.


text: "Make It Look Good" features Stevie Wonder on harmonica, and lyrically talks about "getting played" by a man yet she is deciding "to just go with it," the song is built over a "skipping '80's" beat that contains interpolations of "Let Me Make Love to You", written by Walter "Bunny" Sigler and Allan Felder.


text: "You're Mine (Eternal)" is a love song which lasts for a duration of three minutes and forty-two seconds. The song utilizes an hypnotic and "smooth, steady" beat, which slowly but gradually builds to a sudden climax at the end. Lyrically, the track features Carey reminiscing about a past lover.


text: "You Don't Know What to Do" features American rapper Wale and contains interpolations of "I'm Caught Up in a One Night Love Affair", written by Patrick Adams and Terri Gonzalez. The song is a disco inspired track containing a "bumping" beat compared to music of 1977. "Supernatural" is a "sappy cut" featuring Carey's children credited as "Dem Babies". "Meteorite" is built over a "disco beat", lyrically the song is a running "commentary on celebrity culture", and contains a sample from "Goin' Up in Smoke", performed by Eddie Kendricks. "Camouflage" is a piano ballad, followed by "Money" featuring rapper Fabulous and features a sample from "Alabeke", performed by Dan Snatch, and "Rapper Dapper Snapper" performed by Edwin Birdsong. "Money" is an R&B song built over a "thumping" beat produced by Hit-Boy with lyrics that revolve around money not being important.


text: "One More Try" is a cover of George Michael's 1988 single of the same name, with an "'80s taste" and a "schmaltzy" production. "Heavenly (No Ways Tired / Can't Give Up Now)" is a gospel song with a choir that is dedicated as a tribute to the late Reverend James Cleveland. It contains an excerpt from the Reverend's sermon "God's Promise" performed by James Cleveland. The song also contains a sample of "Can't Give Up Now" performed by Mary Mary, "I Don't Feel No Ways Tired" performed by James Cleveland and "Good Ole Music" performed by Funkadelic.


text: The deluxe album consists of four extra songs; the opening track "It's A Wrap" features American singer Mary J. Blige. The song contains a sample of "I Belong to You" by Barry White, performed by the Love Unlimited Orchestra. "Betcha Gon' Know" was originally recorded and included on Carey's 2009 album "Memoirs of an Imperfect Angel", the remix featuring R. Kelly leaked in July 2011, and draws influence from R&B. Carey announced that the remix would appear the album as a deluxe edition bonus track. "The Art of Letting Go" is an empowering gospel and classic R&B ballad with use of the piano, strings, and guitar. The song was originally the inspiration to also call the album "The Art of Letting Go" however, during an interview with MTV in February 2014, Carey revealed that she was frustrated that the album title leaked as she had not intended for the public to know about it just yet, and as a result she would be retitling the album.


text: On June 16, 2013, Walmart put the album up for pre-order and revealed its title as "The Art of Letting Go". The following day, producer Jermaine Dupri confirmed that Walmart was correct and that the album would be called "The Art of Letting Go". In February 2014, Carey expressed dismay that the album's title had leaked and confirmed that a new title would now be chosen. The album is now titled "Me. I Am Mariah... The Elusive Chanteuse", a two-part title taking its name from two things personal to Carey. The first part is the caption from Carey's "first and only self-portrait", a drawing she drew as a child which is included as part of the album's back cover, while the second half is a nickname she's adopted recently. Summarizing the title and album's concept, Carey said "This album is a reflection of some of the peaks and valleys that made me who I am today. I've always known me. I am Mariah." Carl Williot from Idolator called the album title both "absurd" and "insane". He also lambasted Carey for including "annoying" punctuation in the track listing, including a hashtag (#) for the song "#Beautiful", a period (.) for the song "Cry." and appending characters to the song "Money ($ * / ...)". "Time"s Dan Macsai called it the "greatest, most over-the-top album title of all time."


text: On the standard edition cover, Carey poses with her arms behind her head, while wearing a nude-colored crocheted swimsuit. The deluxe edition features a close-up of Carey's face, on the same sun-kissed background. Jeremy Blacklow from Yahoo! Music commented that some fans felt that the album covers "look retouched to the extreme".


text: In the April 2012 issue of "Shape" magazine, Carey stated: "I've started writing songs for a new album, which I hope will come out in 2012. Getting back in the studio and making music again-which I truly love doing-is the best way to end this crazy year". In August 2012, Carey's then-manager Randy Jackson told "Billboard" that the album was set for release in March 2013. Carey told Ryan Seacrest in September 2012: "I want[ed] [it] to [be released] sooner, but I guess it wouldn't be ready until around January 2013, somewhere around there. I wanted to put another single out, a ballad. I love it, but I'm still writing, I'm still working. So, you never know what it's going to end up being".


text: In February 2013, Carey stated that she wanted to release the album as soon as possible. The album was delayed to May 2013, which soon changed to July 23, 2013. However, the album was again delayed. On February 10, 2014, it was announced that the album was then set for release on May 6, 2014. Carey discussed issues around the failed singles and push backs during an interview with "Billboard", for the magazine's cover story. She said that she wanted fans to hear the album as a full body of work and thus performance of individual singles was less important. Carey also considered a "Beyoncé-style surprise digital release" – Beyoncé released her self-titled album to the iTunes Store in December 2013 without any prior warning, but Def Jam confirmed that Carey's album would receive a traditional release with pre-orders starting May 1, 2014, and a pre-announced album cover, track listing and release date for May 27, 2014. The album also was released early to stream via USA iTunes 'First Play' on May 20, 2014. The album served as Carey's final release under her deal with Def Jam.


text: Carey taped a performance of "#Beautiful" along with a medley of her greatest hits on May 15, 2013. The medley included Carey's debut "Vision of Love", as well as other songs such as "Make it Happen", "We Belong Together", "My All", and "Hero". The taping aired the following day (May 16) during the "American Idol" Season 12 finale episode. Carey performed "#Beautiful" with Miguel on June 2, 2013, at Hot 97's Summer Jam XX festival. She performed the remix of the song with Young Jeezy and Miguel on June 30, 2013, at the BET Awards.


text: The singer taped a performance of "The Art of Letting Go", along with a medley of "Auld Lang Syne", "Fantasy", "Honey", "#Beautiful", "Emotions", "Always Be My Baby", "Touch My Body" and "We Belong Together", for "Dick Clark's New Year's Rockin' Eve", which aired on December 31, 2013. Carey performed "You're Mine (Eternal)" for the first time at the "BET" Honors on February 8, 2014, and the show premiered on TV Monday February 24, 2014. On February 13, 2014, Carey performed the song live while lighting up the Empire State Building. To promote the album further, Carey went on a two-legged headlining concert tour entitled, The Elusive Chanteuse Show.


text: "#Beautiful" was released as the album's lead single on May 7, 2013. "#Beautiful" made its debut on the "Billboard" Hot 100 chart at number 24, the highest debut of the week. It has since peaked at 15, becoming Carey's 33rd Top 20 Hit, and being one of only 5 to miss the Top 10. It also gave Miguel his 3rd Top 20 hit, after "Power Trip" (2013) and "Adorn" (2012). According to Nielsen SoundScan, "#Beautiful" had sold 1.2 million copies in the United States as of April 2014. Internationally, the song reached the top-ten position in Australia, Croatia, Denmark, New Zealand, South Africa, and South Korea. The music video for "#Beautiful" was directed by Joseph Kahn. It was filmed on April 21 and 22, 2013. The video was supposed to have its world premiere on "American Idol" on May 8, 2013, however, the release date was pushed back to May 9, 2013, instead. It was made available to view on Vevo and YouTube immediately after its television debut.


text: "The Art of Letting Go" had its world premiere via Facebook on November 11, 2013. It was commercially unsuccessful, peaking at number 19 on the "Billboard" Bubbling Under Hot 100 Singles. "Thirsty" was released as second promotional single in May 2014.


text: "You're Mine (Eternal)" was released as the third single on February 12, 2014. Commercially, the song has had limited success, charting inside the top 40 in Hungary, Korea, and Spain. In the United States, the song peaked at number 88 on the Hot 100, but became Carey's 17th number-one single on the Hot Dance Club Songs chart, placing her in fifth position as the artist with most number-one songs on that chart. "You Don't Know What to Do" impacted urban contemporary radio on June 30, 2014, and rhythmic contemporary radio on July 1, 2014.


text: Upon release, the album received generally positive reviews. The review aggregator website Metacritic gives a weighted average rating to an album based upon the selected independent mainstream reviews it utilizes, and the album has a Metascore of a 67 out of 100 based on 15 reviews. At AllMusic, Andy Kellman rated the album three-and-a-half stars out of five, saying how Mariah has abandoned the brevity of her earlier releases, but says the songstress is "still capable of delivering 40 minutes of strong, supremely voiced R&B when she's up for it.". He also stated that the standard edition of the album could have worked better without the clumpy and jumbled "Money", the oddly cheap sounding "One More Try", and the stiff/empty "Thirsty". Kenneth Partridge of "Billboard" rated the album a 77 out of 100, writing how Mariah has found her musical niche that her fans have come to expect that is a "mix of pop-classicist balladry and hip-hop-tinged summer jamming". At "Entertainment Weekly", Melissa Maerz graded the album a B, saying how the release proves that her voice has been put through its paces, which she writes when Mariah is "trying to power through a note where it sounds like digital technology might be holding her up by the straps of that crocheted swimsuit." According to Gardner however, Mariah's vocal is "relaxed and confident". Also, Sargent notes that Mariah has "rarely sounded as comfortable."


text: Jim Farber of "New York Daily News" rated the album four stars out of five, writing how the title is not indicative of the release as a whole because he says Mariah is not "elusive" in the least on an album where she "made her talent more clear." At "USA Today", Elysa Gardner rated the album three-and-a-half stars out of four, remarking whether "Elusive or not, this chanteuse is a survivor, and that's a rare thing in today's fickle, polarized pop landscape." Glenn Gamboa of "Newsday" graded the album an A−, commenting how Mariah has "nailed it" because she "goes for timeless [sounding music], with grand results." At "The Plain Dealer", Troy L. Smith graded the album a B, indicating how the music meanders towards the latter stages of the album, yet noting that Mariah still picks the correct collaborators to work with on the release. According to Maher however, the collaborations serve no purpose just showing how Mariah is "desperate[ly] skirting around for identity" that "leaves this album feeling underwhelming." At "Los Angeles Times", August Brown rated the album two-and-a-half stars out of four, indicating how Mariah vocally reined herself in on the album where she showcases her continued relevance. Kevin Ritchie of "Now" rated the album four N's out of five, finding out that "Carey's back to adding her sparkly touch to summer-ready pop tunes." At Pitchfork, Jordan Sargent rated the album a 7.7 out of ten, giving her credit for not sounding "desperate" because the tonality is "defiantly like Mariah, acknowledging her place in the pop ecosystem both implicitly and explicitly without chomping at the bit."


text: Nick Murray of "Rolling Stone" rated the album three stars out five, observing how "stylistic cohesion is as elusive as the chanteuse herself." At "The Guardian", Caroline Sullivan rated the album three stars out of five, indicating how the release contains "a good deal of clutter", however, Mariah is "also at her most soulful and melodic" on a release she calls "a welcome return." Eric Henderson of "Slant Magazine" rated the album three stars out of five, observing how the release is chalked full of "Un"disciplined R&B pastiches." At "The Boston Globe", Sarah Rodman gave a mixed review of the album, commenting on how even the good moments are "sabotaged", and the release as a whole is highly predictable with "a clutch of interchangeable slow-to-midtempo tunes long on pulsating atmosphere—several with distractingly fidgety rhythmic tracks—but short on melody or verve." Aimee Cliff of "Fact" rated the album two-and-a-half discs out of five, comparing the album unfavorably to Beyoncé's self-titled writing that "the record just doesn’t have the same candid, bold edge that characterised Beyonce's huge statement." At musicOMH, Amelia Maher rated the album two-and-a-half stars out of five, stating how Mariah's vocal range is undoubtedly robust, but this time around on the release she "falls short." On "Rolling Stone"s 20 Best R&B Albums of 2014, "Me. I Am Mariah... The Elusive Chanteuse" ranked at number 18.


text: In the United States, "Me. I Am Mariah…The Elusive Chanteuse" debuted at number three on the "Billboard" 200 albums chart with sales of 58,000 copies. It was her 17th top-ten album in the US since Nielsen SoundScan started tracking sales in 1991. It was present on the US "Billboard" 200 for a total of eight weeks, becoming her album with the shortest chart run to that point. As of April 2015, "Me. I Am Mariah...The Elusive Chanteuse" had sold 122,000 copies in the United States. "Billboard" speculated that its initial ratio of first-week sales to its sharp decline in sales thereafter suggested that interest in the album came primarily from a decreasing group of die-hard fans. As of November 2018, the album has sold 127,000 copies in the United States. It became Carey's lowest selling studio album at the time, until the release of Carey's "Caution" album in 2018, which sold 80,000 copies worldwide.


text: Meanwhile, in the United Kingdom, the album peaked at number fourteen on the UK Albums Chart, with sales of 6,547 copies. In its second week, the album dropped forty places to number 54, before completely falling out of the top 100 in its third week.


title: My Bonnie Lies over the Ocean

text: "My Bonnie Lies over the Ocean", or simply "My Bonnie", is a traditional Scottish folk song that is popular in Western culture. It is listed in Roud Folk Song Index as No. 1422. The song has been recorded by numerous artists since the beginning of the 20th century, and many parody versions also exist.


title: My Bonnie Lies over the Ocean

text: The best known recording of the song may be a rock n' roll version titled "My Bonnie" by Tony Sheridan and the Beatles, recorded in the first ever commercial recording session that featured the Beatles, and the resulting single is generally regarded as the Beatles' first single.


title: My Bonnie Lies over the Ocean

text: Although the song's origin is uncertain, its original subject could possibly be Charles Edward Stuart ('Bonnie Prince Charlie'): after the defeat of the Prince at the Battle of Culloden in 1746 and his subsequent exile, his Jacobite supporters could have sung this song or one like it in his honour; and thanks to the ambiguity of the term "Bonnie", which can refer to a woman as well as to a man, they could pretend it was a love song.


title: My Bonnie Lies over the Ocean

text: In 1881, under the duo of pseudonyms H.J. Fuller and J.T. Wood, Charles E. Pratt published sheet music for "Bring Back My Bonnie to Me". Theodore Raph in his 1964 book "American Song Treasury: 100 Favorites", writes that people were requesting the song at sheet music stores in the 1870s, and Pratt was convinced to publish a version of it under the pseudonyms, and the song became a big hit, especially popular with college singing groups but also popular for all group singing situations.


title: My Bonnie Lies over the Ocean

text: Another song from the English tradition titled "My Barney Lies over the Ocean" has a slightly different melody, and it is said to be an antecedent of "My Bonnie". In the liner notes for 1975 album "For Pence and Spicy Ale" where the English traditional singing group The Watersons recorded a version, the musicologist A. L. Lloyd says about "My Barney": "A stage song favoured by Irish comedians from the 1860s on. During the 1880s, apparently on American university campuses, close harmony groups remade it into the better-known—and even more preposterous—'My Bonny Lies over the Ocean'. Watersons had this from Bob Davenport who learnt it from a Frank Quinn 78."


title: My Bonnie Lies over the Ocean

text: Many early recordings were recorded under the title "Bring Back My Bonnie to Me", such as the 1901 recording released by the vocal group Haydn Quartet in 1901. Others with the same title include an instrumental version by The Taylor Trio (1916), and a vocal version by Alma Gluck and Orpheus Quartet (1918). The song was recorded in many different musical styles; for example, the country group The Leake County Revelers recorded a country version in 1927 with the title "My Bonnie Lies over the Ocean", a big band version was recorded by Glen Gray and the Casa Loma Orchestra in 1938, and a calypso-style version by Ella Fitzgerald with Bobby Orton's Teen-Aces in 1952, released as the flip side of "Trying".


title: My Bonnie Lies over the Ocean

text: In 1919, Billy Murray released a different song titled "My Barney Lies Over the Ocean (Just the Way He Lied to Me)", where a few modified lines of "My Bonnie" was used as the chorus. It was sung from a female perspective where she suspected her significant other (the "Barney" of the title) of cheating and lying.


title: My Bonnie Lies over the Ocean

text: A handful of field recordings have been made of traditional versions. Birmingham resident Cecilia Costello was recorded singing a version by Peter Kennedy in 1951, whilst the "East Grinstead Old People's Club" of East Grinstead, Sussex, England sang a version to Ken Stubbs in 1960, which can be heard online via the Vaughan Williams Memorial Library website. Traditional versions of the song have also been recorded in the United States and Canada.


title: My Bonnie Lies over the Ocean

text: The structure and tune of the song made it a suitable vehicle for parody, and numerous variations and parodies of the song have been created over the years. Some of these may be sung as children songs, and many have become common campfire song for organizations such as the Boy Scouts. These campfire versions are occasionally accompanied by interactive movements, such as sitting down or standing up every time a word that begins with the letter "b" is sung. Two examples are given below, the first may be sung as additional verses or variations for the song, the second a song titled "Oh God, How the Money Rolls In" sung to the tune of "My Bonnie":