Plot.

As its name suggests, Earth 2140 takes place in the year 2140. Previous wars have left much of the Earth a nuclear wasteland, forcing most of the world's population into underground cities. Tensions rise between the Earth's two major factions, the Eurasian Dynasty (ED) and the United Civilized States (UCS), as both sides vie for the world's steadily dwindling resources. A UCS raid on an ED base is enough to ignite the rivalry into full-scale war as the ED fails in its bid to control Mexico and the UCS counterattacks Scandinavia, Great Britain, France, and the Iberian Peninsula.

Factions.

The United Civilized States (UCS) controls all of North and South America, Western Europe and North Africa. His nation is populated mostly by hedonists. As much work as possible is done by robots. Automated butlers are the standard in UCS households, even politics and war are left up to the machines. As such, UCS citizens are often portrayed by their detractors as decadent "pigs". A glitch in the upgrade of the UCS war processor GOLAN caused the giant robot to miscalculate the military strength of the Eurasian Dynasty, thus compelling it launch an attack on the ED. After losing several battles in Mexico, GOLAN quickly adapted to the ED threat and began to retake lost ED territory and win battles in Europe. The UCS is generally more technologically advanced than its adversary, employing robot infantry and automated bipedal combat vehicles (more commonly known as mechas).  The Eurasian Dynasty (ED) controls Eastern Europe and Asia. The antithesis of the UCS, the ED is run by an autocratic monarchy under the Khan Dynasty that often makes life harsh, short, and without luxury for its citizens. As the less technologically advanced of the two factions, the ED utilizes cyborgs, traditional vehicles such as tanks, and armed helicopters in its arsenal. Because of its technological disadvantage, the ED finds itself more often on the defensive throughout the Earth 2140 storyline.

Gameplay.

Earth 2140 basically requires the player to complete various objectives, mostly destroying all opposing units and structures (or capturing them). Failure of missions happens when all the player's units are wiped out or a vital objective is not met. Structures are built by deploying mobile vehicles on suitable terrain. Mines used to fund the player with money for purchasing can only be built where ore is available. Materials used to gain funds at 1000 credits a piece are carried from a mine (or material on ground) by a BANTHA truck or Heavy Lifter and placed at the Refinery and converted into credits. Mines eventually finish when all ore is extracted.  Units and vehicles can be recruited from their respective factories. Each faction has four types of units, with an exception to the civils who don't serve any purpose but garrison. The player can create up to 5 queued units and even an infinite queue of the same unit. Unlike most strategy games, credits cannot be refunded when recruitment is cancelled and structures cannot be sold. In some missions it is possible for the player to call for reinforcements only once. Structures can only be removed with self-destruction. All structures except the Construction Center require power from power plants. Lack of power will cause buildings to operate slowly. Destruction of a power plant leaves a permanent scar on the terrain, which drains vitality of any units nearby. Certain types of buildings must be built to enable the player to build others and to recruit more types of units and vehicles, especially the Research Center. To capture an enemy structure, the player must send in enough units to overwhelm enemy units in garrison. Capturing the opposing faction's factories enables the player to make use of otherwise unavailable technology (depending on the research center progress). Guard towers and superweapon launchers cannot be captured. Most of the units and vehicles just move, attack and escort, but certain ones serve with special tasks such as mine laying, cargo carrying and others. Not every vehicle is land-based; Vehicles like submarines are sea-based and vehicles like helicopters are air-based. Air-based vehicles can travel anywhere on the map screen and while they are airborne can only be shot down by rocketry. A unique feature in the game is that a vehicle once disabled (easily accomplished with ion technology) can be reprogrammed to join the player using a HMCR repair vehicle.

Expansion packs.

Two expansion packs were released for this game:

Earth 2140 is a 2D real-time strategy computer game created in 1997 by Polish-based Reality Pump Studios and published by TopWare Interactive (later acquired by Zuxxez Entertainment). Due to lack of publicity and marketing, the game was virtually unknown in the United States as well as Western Europe. It has two sequels, "Earth 2150" and "Earth 2160".


2011 roster.

Ages as

One-day races.

Before the spring season and the races known as classics, the team was active in the Vuelta a Mallorca series of one-day races. Farrar won the first, the Trofeo Palma de Mallorca, after a field sprint, but this result does not count in the UCI's official records. Beginning with the 2011 season, the UCI has banned race radios from all 1.HC, 2.HC, and below events, having previously banned them at 1.2, 2.2, and national events in 2010 (bans for World Tour races are planned for 2012). The ban is extremely unpopular among teams and riders. Since the Vuelta a Mallorca is a series of 1.1 races, it is covered by the ban. However, prior to the Trofeo Palma de Mallorca, most of the riders in the race signed in wearing radios anyway, in defiance of the ban, and refused to remove them, in protest both of the ban itself and of the UCI making major decisions without the teams' input. Consequently, the UCI's commissaires refused to officiate the race and declared its results moot. The next day, Farrar won the Trofeo Cala Millor without controversy, edging's John Degenkolb in a depleted group sprint. The riders did not protest nor strike, deciding against doing so in the best interests of the race organizers after the UCI threatened to cancel the race altogether if they did. The squad was also victorious in the final Vuelta a Mallorca race, the Trofeo Magaluf-Palmanova. Though the course, with five categorized climbs, suggested a breakaway winner, Fischer took the team's ninth victory of the season from a 20-rider sprint finish.

Spring classics.

The team was active at the traditional Belgian opener, Omloop Het Nieuwsblad. Maaskant figured into a 12-man breakaway that formed as the morning's initial break was caught. Sebastian Langeveld and Juan Antonio Flecha went on to decide the race among themselves, with Maaskant finishing seventh 90 seconds back. Farrar just missed out on the podium at Kuurne–Brussels–Kuurne. He took fourth in the field sprint finish.  At the first monument race of the season, Milan–San Remo, the team was thought to be one of the top favorites. They had three potential candidates for victory in Hushovd, Farrar, and Haussler, all of whom had shown good form during the season and Farrar and Haussler had race wins to their credit. They admitted that they each envisioned different scenarios which would lead to their respective potential victories, possibly complicating things for the team, but they remained committed to riding as a team. Each was separately viewed by analysts or fellow riders as a favorite for the day, as well. The race played out differently from these expectations. On the Le Manie climb, from the finish, Hushovd crashed from roughly the middle of the peloton, leading to the race effectively being split in two. The crash also cost Hushovd one of his wheels. While teammate Vansummeren obligingly offered the world champion one of his, Hushovd stated after the race that the crash ended his chances at victory, since he could not pedal at full strength due to a hip injury. Farrar was also

Fall races.

The team had few noteworthy performances in the later season single-day races. Kreder took tenth in a 25-rider sprint finish to the Coppa Ugo Agostoni in August. He was likewise tenth at Vattenfall Cyclassics, in a 34-rider finale. Hushovd turned in a strong ride at the GP Ouest-France, taking fourth place in an odd finish. Sprinter Grega Bole jumped early for the win, while attackers Simon Gerrans and Thomas Voeckler were caught out between him and the peloton behind for second and third. Hushovd led the peloton across the line for fourth, but all the riders were credited with

Stage races.

The team entered the Tour Down Under with a squad led by Farrar, who sought to win the race overall. After failing to figure in the finish to stage 1, Farrar was conclusively ruled out of any overall contention due to a stage 2 crash. At this point, the team specifically turned to Cameron Meyer for their overall chances, and he delivered. In stage 4, Meyer and Wilson both made the day's breakaway, and in a happening rare in the Tour Down Under's history, the breakaway stayed away. Back in the peloton, their teammates rode at the front of the group to try to thwart the plans of,, and to get another mass finish. Meyer won the stage, with Wilson fading to fourth toward the end. The break's time gap over the main field gave Meyer the overall race leadership. It was the first time in his career that Meyer had ever been a race leader, and with the race's queen stage to Willunga ahead, he was nervous of being able to hold the lead. In the Willunga stage, Meyer finished with the leading group, holding onto his race lead, though it was narrowed to 8 seconds due to fellow stage winner Matthew Goss getting bonus seconds at the finish line for his third place. In the Adelaide criterium to close the race, Meyer preserved his lead, emerging as Tour champion. Goss, however, mounted a spirited challenge, winning bonus time not only at the finish but also in the first intermediate sprint, coming up two seconds short in the final overall standings.  As he had been in his two seasons with, Haussler was active in the Tour of Qatar in February. After finishing second to Tom Boonen in stage 1, Haussler won stage 2, outkicking Daniele Bennati at the finish, and moved within one second of Boonen in the overall classification. Though he had won the event's points classification in each of the last two years, this was Haussler's first ever stage win at the Tour of Qatar. In stage 3, Boonen flatted at a critical moment when the peloton was at its top speed and lost three minutes, leaving the top of the overall standings wide open. Haussler picked up a second consecutive stage win in Mesaieed, and in so doing he also moved into the overall race leadership. He credited the win to the team treating the third stage like a one-day classic, while also mentioning that's Bernhard Eisel performed an effective leadout for all the sprinters at the finish. Haussler lost the overall lead in stage 4, as's Mark Renshaw took the stage win and opened a six-second gap with his time bonus at the finish. Haussler was a distant ninth in the event's final stage, meaning the bonus time on offer went wanting and he finished second overall, though winning the points classification for the third year in a row. Similarly continuing's legacy, the squad won the teams classification as their antecedents also had in each of the previous two editions. Haussler stated that he was pleasantly surprised by his early-season form and hoped it would portend for Milan–San Remo and the Tour of Flanders. At Paris–Nice in March, Haussler won the points classification without

Grand Tours.

Giro d'Italia.

Originally, Le Mével and Martin were set to share leadership duties at the Giro d'Italia, though about a week and a half before the race was to begin Martin was pulled due to allergies. Millar, Farrar, Wilson, and Lancaster were named to the squad at that time, with Peterson, Cameron Meyer, Fischer, and Stetina eventually rounding out the squad. The squad held the stage 1 team time trial and subsequently taking the first pink jersey as an immediate goal, having done exactly that in the equivalent stage at the 2008 Giro d'Italia. The team's plan was for Le Mével to ride for the overall, Farrar and Millar for stage wins, and the other riders for support. Stetina made his Grand Tour debut in this race, with his goal simply to finish. The squad finished fifth in the team time trial, coming home with the minimum of five riders together 24 seconds off the winning time set by. Farrar was a relatively distant seventh in the group sprint finish to stage 2. He described it as a missed opportunity, with the leadout train faltering at the to go mark, though he anticipated

Tour de France.

Garmin-Cervélo's squad for the Tour included two riders who had never participated in it before, Navardauskas and Danielson. Vaughters commented that the selection process was not easy, stating that the team had "15 or 18 riders capable of riding the Tour." While Navardauskas was in his neo-pro season in 2011, consequently making this his first Grand Tour, Danielson was a ten-year veteran who had often in his career been tapped as the next great overall classification rider to come out of the United States. He had ridden the Giro d'Italia and the Vuelta a España several times in his career, with three top-ten finishes in the Vuelta, but this marked his first Tour de France. The other riders on the squad were Dean, Farrar, Hesjedal, Hushovd, Millar, Vande Velde, and Zabriskie, with Hesjedal and Vande Velde considered the overall classification hopefuls. The team also revealed a new design for the Tour, predominantly white rather than their predominantly black jersey from earlier in the year, and also reincorporating the argyle pattern that had featured in past year's kits.  The Tour's first stage was largely flat, with a short uphill finish. Farrar said the finish was too hard for him and he would work for Hushovd on the stage, as he expected Hushovd to work for him on the more straightforward sprint stages. Hushovd was active in the frenzied finale on the Mont des Alouettes, but finished third six seconds back of Philippe Gilbert. Hesjedal, Vande Velde, and

Vuelta a España.

After taking some time to recover from the Giro d'Italia, Le Mével was again the squad leader for the Vuelta a España. Martin, coming off his Giro della Toscana win, was also named as an overall classification rider. The team's sprint hopes were tied to Haussler, riding his first Grand Tour since the 2009 Tour de France. The squad had a notable exclusion in Hushovd. The world champion had already signed to ride for the in 2012, but made it clear that he wished to ride the Vuelta as part of his world championships preparation, something

Away from competition.

Dismissal of Matt White.

On January 24, the day after the Tour Down Under ended, dismissed Matt White, an Australian former cyclist who had been a sporting director for them since 2008. White was the team's director at the Tour Down Under. This was announced one week after the long-rumored formation of a new top-level Australian team, known under the name GreenEDGE, was confirmed for 2012. White, as well as riders Cameron Meyer and Jack Bobridge, had been speculated to be bound for the new team, since the contracts of all three expire at the end of 2011.  Vaughters denied that this link was the case, and the team's official announcement gave a different reason for White's firing. Officially, White was released for referring former team rider Trent Lowe to a Spanish doctor named Luis Garcia del Moral, who has been implicated in several doping cases. This referral took place in April 2009. Garcia del Moral had been the team doctor for the team for the first five of Lance Armstrong's consecutive Tour de France victories, a period during which Floyd Landis claims he witnessed and participated in organized doping with the team, and was otherwise involved in some suspect activities during that time. However, Garcia del Moral's checkered past may not have figured into White's firing – the team stated that White had violated an important internal rule simply by sending Lowe to a doctor outside the team's employ or without approval of the medical staff.  Complicating the story were reports that Lowe had blackmailed the team's management with publicly revealing the fact that he had been sent to see Garcia del Moral, demanding the unpaid portion from his 2010 contract (which was withheld due to Lowe riding with

The 2011 season for the cycling team began in January at the Tour Down Under and ended in October at the Noosa Grand Prix. As a UCI ProTeam, they were automatically invited and obligated to send a squad to every event in the UCI World Tour.


Biography.

Mohamed Lamine Debaghine, holding a doctorate of medicine from Algiers University, opened a medical practice in the eastern Constantine region in 1944. At the time, Algeria was a governorate of France, but with the exception of European settlers, Algerians were not accorded civil rights. He quickly became active in politics, and joined Messali Hadj's Parti du peuple algérien (PPA) leftist nationalist movement in 1939. During the Second World War, he was arrested by colonial authorities for nationalist agitation and for inciting Algerian conscripts to refuse military service in the French army (while also condemning Nazism). He emerged as one of the group's most important leaders, pushing for confrontation with the colonial authorities and demanding independence (as opposed to the more moderate followers of Ferhat Abbas, who, unlike the PPA, restricted their demands to full citizenship for Algerian Muslims and autonomous rule).  In 1946, Lamine Debaghine was elected to the French parliament as a deputy of Constantine on a list backed by the Movement for the Triumph of Democratic Liberties, a successor movement to the banned PPA. In parliament, he called for Algeria's independence and described France's annexation of the country in 1830 an "aggression", but otherwise stayed out of most parliamentary debates and votes (an exception being to vote against French membership in NATO in 1949).  In 1951, his parliamentary mandate ended, and three years later, an armed rebellion for Algeria's independence erupted led by the Front de libération nationale (FLN), a PPA/MTLD splinter group. In 1956, Lamine Debaghine was made a member of the FLN's exterior delegation (i.e. outside the country) and its shadow parliament, the CNRA, later CCE. Lamine Debaghine was elected minister of foreign affairs in the first lineup of the FLN's government-in-exile, GPRA, under Ferhat Abbas's presidency, holding the post for the period 1958-1960. In this role, he served as a primary spokesman of the FLN to the outside world, and worked to build alliances with the newly independent countries of the Arab world and other regions. However, being outside the country, he had limited authority over the actual armed rebellion of the FLN's armed wing, the Armée de libération nationale (ALN). A Time Magazine article from 1957 described him as Abbas's close collaborator, "Dr. Mohammed Lamine-Debaghine, 40, [the] bitterly anti-French veteran nationalist who is subject to bouts of depression caused by attacks of neuralgia that partially paralyze his face." As an ally of Abane Ramdane, he was later sidelined by Ramdane's rivals, including Ahmed Ben Bella and others, and he was excluded from the GPRA's two following ministerial lineups, as well as from any important role in post-independence politics.  Following the war, he reopened a medical practice in Sétif. He died in Algiers, the Algerian capital, in 2003, at the age of 86.

Dr. Mohamed Lamine Debaghine (24 January 1917 in Hussein Dey, Algeria; – 23 January 2003 in Algiers, Algeria) was an Algerian politician and independence activist.


History of the school.

The school was founded in 1763 at Sedgley Park School, Wolverhampton – now a hotel. It was founded by William Errington at the recommendation of Bishop Richard Challoner. In 1873 it moved to Cotton Hall. The school closed in 1987 due to financial difficulties.

Architecture.

Cotton Hall.

Original building.

Cotton Hall appears to date back to 1630 and was most probably built by the Morrice family. Thomas Gilbert rebuilt the house in the eighteenth century. In 1843 Cotton Hall was sold to the Earl of Shrewsbury. The Earl, who lived at Alton Towers nearby, offered the building to a religious community under the leadership of Frederick William Faber.

Extensions.

The house was extended in 1846–1848 for use by the religious community, which started a village school and sought to convert locals to Roman Catholicism. The building work was financed by the Earl, who gave the commission to his architect Augustus Pugin, most famous for his work with Charles Barry on the Houses of Parliament. After the school moved to Cotton, the building was further extended in 1874-1875, 1886-1887 and 1931-1932.

St Wilfrid's Church.

As well as the extension, Pugin designed a chapel in Gothic Revival style linked to the main building by a single-storey passage building. It has a south-west tower with a broach spire.  St Wilfrid's Church remained intact after the closure of the school, although regular services are no longer held there.

Cotton College was a Roman Catholic boarding school in Cotton, Staffordshire, United Kingdom. It was also known as "Saint Wilfrid's College".


Biography.

Salvi studied under Bonaccini in Naples before making his professional opera debut as Cam in the world premiere of Donizetti's "Il diluvio universale" on 28 February 1830 at the Teatro San Carlo. This was followed by several appearance at the opera house in Zadar in 1830–1831. He then joined the roster of principal singers at the Teatro Valle in Rome, singing there through 1832. While with the company he sang several leading tenor roles, including the title role in Rossini's "Otello" opposite Maria Malibran as Desdemona and Fernando in the world premiere of Gaetano Donizetti's "Il furioso all'isola di San Domingo" (1833).  Over the next two decades Salvi was one of Italy's leading tenors, singing roles with most of the country's major opera houses. On 21 August 1836 he portrayed Daniele in the world premiere of Donizetti's "Betly" at the Teatro Nuovo in Naples. He went on to sing in two more Donizetti premieres, the title role in "Gianni di Parigi" (1839, La Scala), and Oliverio in "Adelia" (1841, Teatro Apollo).  From 1836–1840 Salvi had a number of lauded successes at the Teatro Carlo Felice. A particular triumph was the role of Arnold in that theatre's first mounting of Rossini's "William Tell" (1840). From 1839–1842 Salvi was a regular performer at La Scala. While there he notably sang leading roles in the world premieres of the first two operas composed by Giuseppe Verdi, portraying Riccardo in "Oberto" on 17 November 1839 and Edoardo in "Un giorno di regno" on 5 September 1840. Other La Scala highlights included an appearance in the original production of Federico Ricci's "Un duello sotto Richelieu" (1839) and the role of Tonio in the house premiere of Donizetti's "La Fille du Régiment" (1840).  In 1843 Salvi made his first appearances in France at the Théâtre-Italien as Edgardo in Donizetti's "Lucia di Lammermoor" and Riccardo in Donizetti's "Maria di Rohan". From 1847–1850 he sang annually as a guest artist at the Royal Opera, London at Covent Garden, where he had tremendous successes portraying heroes from Donizetti and Bellini operas. He also traveled to North America several times during his career, notably performing in a number of operas at Niblo's Garden. In 1851 he made a lengthy concert tour of the United States with lauded Swedish soprano Jenny Lind. He also took part in the first performance of the Mexican national anthem on September 15, 1854.  Salvi was married to Italian soprano Adelina Spech-Salvi who also had an important opera career. After their retirement from the stage, the couple moved to Bologna and worked as singing teachers. Salvi died in Bologna in 1879 at the age of 68.

References.

Notes Sources

Lorenzo Salvi (4 May 1810, Ancona – 16 January 1879, Bologna) was an Italian operatic tenor who had a major international opera career during the nineteenth century. He was particularly associated with the operas of Gaetano Donizetti and Giuseppe Verdi; notably singing lead roles is several world premieres by both composers.


Overview.

Final energy consumption by source (2010):

Electric power.

History.

The Korea Electric Power Corporation (KEPCO) provided electricity in the country. When KEPCO's predecessor, KECO, was founded in 1961, annual power production was 1,770 GWh. Production reached 73,992 GWh in 1987. In that year, residential customers used 17.9% of total production, public and service businesses used 16.2%, and the industrial sector used 65.9%. Sources of power generation were primarily nuclear power, coal, oil, and liquefied natural gas. Of the 54,885 GWh of electricity generated in 1985, 22% came from nuclear plants then in operation, 74% from non-nuclear thermal plants (oil and coal), and 4% from hydroelectric sites. It was predicted in 1988 that the generation structure by the year 2000 would be 10.2% hydroelectric, 12.2% oil, 22.9% coal, 10.2% LNG, and 44.5% nuclear.  KOGAS (한국가스공사) acts as importer of LNG for the power generators.

Sources.

Nuclear Power.

South Korea placed a heavy emphasis on nuclear power generation. The country's first nuclear power plant, the Kori Number One located near Pusan, which opened in 1977. Eight plants operated in 1987 when atomic power generation was an estimated 71,158 million kilowatts, or 53.1% of total electric power.

Renewable energy.

The government decision in July 2008 to increase investment in renewable energy to reduce reliance on foreign oil imports may provide an incentive for conglomerates' solar plans. The Ministry of Knowledge and Economy said the country intends to spend 194.4 billion won ($193 million) on technologies and projects, including solar, wind and biofuels, in 2008.  South Korea is fast-growing gigawatt-market for photovoltaics (PV). In 2014, the country ranked among the world-leading top-ten installers of PV systems.  Hydro also comes under Korea Hydro & Nuclear Power Ltd. (한국수력원자력(주))

Storage.

In December 2017, Hyundai Electric announced a plan to build a 150MW grid storage battery near Ulsan for Korea Zinc.

Global warming.

According to the Carbon Dioxide Information Analysis Center CDIAC South Korea is among the top ten, namely ninth, highest country in carbon dioxide emissions in the period 1950-2005. The United States (25%), China (10%) and Russia (8%) are the countries with the highest carbon dioxide emissions from 1950-2005.

South Korea is a major energy importer, importing nearly all of its oil needs and the second-largest importer of liquefied natural gas in the world. Electricity generation in the country mainly comes from conventional thermal power, which accounts for more than two thirds of production, and from nuclear power.


Design.

A vardo's design includes large wheels set outside the body, whose sides slope outward considerably as they rise toward the eaves. Beyond this characteristic, the six types of caravans differ in shape, size, placement of the wheels relative to the bed, where made, and maker. The roofs of the bow-top and open-lot types are canvas stretched over curved wooden frames; the others are roofed in wood. By the mid-1800s, the designs were almost entirely standardized, and some features are common to all types. The door is almost always in the front.  The small cast-iron cooking stove was invented in America and was available there and in Great Britain from about 1830 on and is a common fixture of the wagons. A cooking stove necessitates a chimney to vent smoke. A caravan's chimney is always on its left side as viewed from its front doorway; as the caravan travels along the left side of the road, the chimney is in less danger from low-hanging tree limbs in that position. The stove rests in a wooden fireplace.  The wagon's interior is typically outfitted with built-in seats, cabinets, a wardrobe, bunks in the rear of the caravan, a chest of drawers, and a glass-fronted china cabinet. There are windows on the left side and rear. Some types have clerestories which let in light and air. A bracket for an oil lamp is mounted over the chest of drawers opposite the fireplace; the chest's top functions as a table. Wagons' exteriors can range from fairly plain to intricately carved, painted in bright colors, and sheathed in places with gold leaf.

History.

The Romanichal had arrived in the British Isles by 1500 AD, but they did not begin to live in vardos until around 1850. Prior to that, they traveled in tilted carts or afoot and slept either under or in these carts or in small tents. Originally Romanichals would travel on foot, or with light, horse-drawn carts, typical of other Romani groups or would build "bender" tents — so called because they were made from supple branches which they bent inwards to support a waterproof covering. The heyday of the Romani caravan was the latter part of the 19th century.  Initially using castoff horses and even mules to draw their chimneyed living wagons, the Romanichal gradually created a breed of horse known variously as the Gypsy Cob (UK, NZ), Gypsy Horse (US, UK, AU), Coloured Cob (UK, Ireland, parts of continental Europe), Gypsy Vanner (USA, CAN), Tinker Horse (parts of continental Europe), and Irish Cob (Ireland) to do so.  Wagons were first used as a form of living accommodation (as opposed to carrying people or goods) in France in 1810 by non-Romani circus troupes. Large transport wagons combined storage space and living space into one vehicle, and were pulled by teams of horses. By the 19th century wagons became smaller, reducing the number of horses required, and around the mid-to-late-19th century (1840–1870), Romanichals in Britain started using wagons that incorporated living spaces on the inside, and added their own characteristic style of decoration. In "The Old Curiosity Shop" (ch. xxvii), Charles Dickens described Mrs. Jarley's well-appointed van:  These smaller wagons were called "vardo" in the Romani language (originating from the Ossetic word "vurdon") for cart. The Romani "vardo" evolved into some of the most advanced forms of travelling wagon, and are prized for their practicality as well as aesthetic design and beauty. There is no more iconic or recognizable Romani symbol than a highly decorated Romanichal vardo, and the time of its use is often affectionately called "the wagon time" by Romanichal travellers. The vardos were typically commissioned by families or by a newlywed couple from specialist coach builders. Building the vardo took between six months to a year; a variety of woods including oak, ash, elm, cedar, and pine were utilized in its construction. Prized by the Romani, and later by non-Romani, including other traveller groups, for their practicality as well as aesthetic beauty, vardos can be categorized into six main styles; these being the Brush wagon, Reading, Ledge, Bow Top, Open lot, and Burton. The general design evolved over time and were named after the home's owners, for their traditional style (Ledge), for the town of its construction (Reading), or for the name of the builder.

Burton wagon.

Popular with Romanis, as well as Showmen families, and circus people, the Burton wagon is the oldest example of a wagon used as home in Britain. Originally undecorated, the Burton wagon evolved into an elaborate Romani vardo, but due to its smaller wheels it was not suited for off-road use.

Brush wagon.

The Brush or "fen wagon" as it was also known, consists of a standard Romani vardo, with straight sides and the wheels located outside the body. The Brush was similar in construction to the Reading vardo, but unlike other styles, the brush wagon had two distinct features: a half-door with glazed shutters, located at the back of the vardo, with a set of steps, both set around the opposite way from other wagons and lacked the mollycroft (skylight) on the roof. The exterior is equipped with racks and cases fitted on the outside frame and chase of the wagon allowing the owner to carry trade items like brushes, brooms, wicker chairs, and baskets. Additionally, three light iron rails ran around the entire roof, used for stowing bulkier goods, and sometimes trade-name boards. The wagons were elaborately and colorfully painted.

Reading wagon.

The Reading or "kite wagon" is so named due to its straight sides that slope outwards towards the eaves, high arched wheels, and relative light weight; there is no other vardo that epitomizes the golden age of Romani horse travel. It dates from 1870 and is synonymous with the original builder Dunton and Sons of Reading from where the vardo takes its name. The wagon was highly prized by the Romanies for its aesthetic design, beauty and practicality to cross fords, pull off road and over rough ground, something smaller-wheeled wagons like the Burton were unable to do. The Reading wagon is 10 feet long, with a porch on the front and back. The rear wheels were 18 inches larger than the ones on the front. At the start of the 20th century the design incorporated raised skylights.  On either side of the bed space, quarter-inch thick bevelled mirrors were common, and were lavishly decorated. Cupboards and locker seats were built in to prevent movement whilst travelling. Side and back windows were decorated and shuttered, and the body of the vardo itself would have originally been made from beaded tongue-and-groove matchboard, painted red picked out in yellow and green. As with other vardo, the extent of the elaborate decoration reflected the wealth of the family, boasting carved lion heads and gargoyles; these would have been painted gold or extensively decorated with gold leaf. Today, surviving Reading wagons are prized exhibits in museums or private collections. A fine one is in the University of Reading's Museum of English Rural Life.

Ledge wagon.

The characteristic design of the ledge or "cottage shaped" wagon incorporated a more robust frame and living area that extended over the large rear wheels of the wagon. Brass brackets supported the frame of the wagon and solid arched roof usually 12 feet high, extended over the length of the wagon to form porches at either end and panelled with tongue in groove boards. The porch roof was further supported by iron brackets, and the walls were highly decorated with ornate scrollwork and carvings across the length of the wagon.

Bow top.

Based on the design of the Ledge wagon, the Bow Top is significantly lighter, and less likely to turn over in a strong wind. The design incorporated a lightweight canvas top, supported by a wooden frame: a design reminiscent of the older “bender tents” used by the Romanichal. Both back and front walls of the wagon were decorated in scrollwork and tongue and groove and the wagon was painted green to be less noticeable in woodland. The inside of the Bow Top also contained the same high scrollwork or Chenille fabric, with a stove, table and double bed.  The bow-top is commonly thought of as being covered in teal-coloured canvas. This is said to now be a tradition which began before World War II when only cotton duck was available.

Open lot.

Almost identical in size and construction of the Bow Top wagon, the Open lot or "Yorkshire Bow" featured the same design but with a curtain instead of the door characteristic of other wagons. The wagon's entrance was covered by a curtain for privacy.

Decoration and painting.

Vardos were elaborately decorated, hand carved and ornately painted with traditional Romani symbols. Examples of famous Wagon Artists responsible for the early development of vardo art are Jim Berry, John Pockett, Tom Stevens, Tommy Gaskin, John Pickett, modern contemporary decorators continuing to shape this colourful tradition included artists such as Yorkie Greenwood and Lol Thompson.  Much of the wealth of the vardo was on display in the carvings, which incorporated aspects of the Romani lifestyle such as horses and dogs, as well as stock decorative designs of birds, lions, griffins, flowers, vines and elaborate scrollwork. Carved details were often accented with gold, either painted or, in the most expensive wagons, the use of between 4-15 books of gold leaf applied as decoration. Many individual makers were identified by their particular designs.

Funeral rites.

The Romanichal funeral rite during the "wagon time" of the 19th and 20th century included burning the wagon and belongings after the owner's death. The custom was that nothing whatsoever would have been sold, though some of the deceased's possessions, jewellery, china or money would be left to the family. The rest, including the wagon, was destroyed.

Modern traditional use.

The Romani travellers in the 1920s proudly clung to their decorative vardos, although the economics of their way of life was in upheaval due to the contraction in the horse-trading industry and the changes from their traditional crafts. In the present day, Romanichals are more likely to live in caravans. The tradition does survive, primarily outside Romani culture. It was estimated that by 1940 only about 1% of Romani travellers still lived in the traditional horse-drawn vardo.  Today's Romanichal still attend horse fairs, the best known of which is Appleby Horse Fair. Some attendees of the fairs travel there in the traditional manner via horse-drawn vardos. American photographer John S. Hockensmith documented such a journey in 2004, travelling with and photographing the Harker family's 60-mile journey to Appleby in bow top living waggons.

Other uses.

The British writer Roald Dahl acquired a traditional vardo in the 1960s which was used as a playhouse for his children; later he used the vardo as a writing room, in which he wrote "Danny, the Champion of the World".  John Lennon's Rolls-Royce Phantom V was painted in the style of a Romani gypsy wagon by artist Steve Weaver of private coach maker J.P. Fallon Ltd.

A vardo (also wag(g)on, living wagon, van, and caravan) is a traditional horse-drawn wagon used by British Romanichal Travellers as their home. Possessing a chimney, it is commonly thought of as being highly decorated, intricately carved, brightly painted, and even gilded. The Romanichal Traveller tradition of the vardo is seen as a high cultural point of both artistic design and a masterpiece of woodcrafters art. The heyday of the living wagon lasted for roughly 70 years, from the mid-1800s through the first two decades of the twentieth century. Not used for year-round living today, they are shown at the Romanichal (British Romani) horse fairs held throughout the year, the best known of which is Appleby Horse Fair.


Plot.

In a quiet meadow, Charlie, a unicorn, is resting, before he is awakened by two other unicorns. As Charlie awakes from his slumber, the other two unicorns inform him that they have found a map to the mythical "Candy Mountain," and that he must come with them on their journey. Charlie initially refuses and goes back to sleep. The blue unicorn begins to jump on Charlie, insistent that he should come, and both begin to pester him with details of the mountain, causing him to begrudgingly give in to their demands. The trio begins their journey in a forest, where the two lead Charlie to a "Liopleurodon"; the two unicorns converse with the "Liopleurodon", who supposedly guides them on their quest with a simple roar. The trio then crosses a bridge, much to the delight of the pink and blue unicorns, who repeatedly tell him that they are on a bridge.  When the trio arrives at Candy Mountain, the letters of the CANDY sign come to life and the "Y" sings a song, closely resembling the tune of Klarinettenmuckl-Jodler, welcoming Charlie to the mountain and imploring Charlie to go into the cave. After the letters explode, Charlie reluctantly goes into the cave. The other unicorns say goodbye as Charlie is locked inside and knocked out by an unknown assailant. When he awakens in his original spot, he realizes that they have taken one of his kidneys, much to his dismay. The video then immediately ends with the credits.

Production.

Independent animator Jason Steele initially conceived "Charlie the Unicorn" in 2005 as a flash animation test for his mother, who enjoyed unicorn-related conversation. Steele first imagined the video's plotline when he was running around his house, chanting "La la la!" repeatedly, then quickly envisioned the majority of the plotline shortly thereafter; according to Steele, the video's conception happened "all at once; there was no editing." The video is primarily structured around surrealist humor and dark humor. Steele claims that the former was inspired by musician Logan Whitehurst, who frequently communicated with Steele via e-mail and composed the theme song for his 2003 computer-animated short film "Secret Agent Bob"; he describes the latter as "contrast[ing] to how bright and cheerful" the video's atmosphere is.  Steele drew "Charlie the Unicorn" using Adobe Photoshop and Adobe Flash, and animated it in After Effects and edited in Final Cut Pro. The audio was recorded using Amadeus Pro, and the music was recorded with Logic Pro. The video also contains a musical number titled "The Candy Mountain Cave", featured during the sequence where Charlie refuses to enter the Candy Mountain Candy Cave, sung by the mountain's marquee letter "Y", who is backed by his partners "C", "A", "N", and "D". Although the blue and pink unicorns were originally chosen to sing the song, Steele was unable to use their voices to sing at a rapid pace, and resorted to using the Letter "Y" instead.

Reception.

"Charlie the Unicorn" has become increasingly popular since its inception. Following its posting on Newgrounds in 2005, Geoff Swanson of YouTube posted a copy of the video on the website in 2006, where it rapidly gained popularity. It reached a total of approximately 8 million views internetwide in 2007. The video climbed to forty-six million views in March 2010. It currently has 68 million views on Geoff Swanson's YouTube upload, and 35 million views on FilmCow's official YouTube upload.  Online magazine "Salon" described the video as "The unlikely adventure of a crotchety unicorn" and stated "We often feel like Charlie the Unicorn. Annoying, brightly colored colleagues poke at us with their curly horns as we snooze at our desk, promising far-off, sugar-coated delights. Do we muster the energy to follow them, hoping some sweet payoff will break the unbearable bleakness of our daily existence? Can they be trusted?" The series has also attracted a number of celebrities, including British television personality Alex Zane, who has openly considered himself a fan of "Charlie the Unicorn", and entertainers Kevin Pereira and Olivia Munn. Brian Hamlin of "The Hollywood Reporter" considered the video to be "incredibly dumb and annoying" yet "really funny and weird too full of unicorn joyness and music." In 2009, "Time" named "Charlie the Unicorn" number 49 in their list of "YouTube's 50 Best Videos", stating ""Charlie the Unicorn" proves that something doesn't have to make any sense at all to earn a cultlike following."  Merchandising lines produced by a partnership consisting of FilmCow and retailer CafePress as well as Hot Topic have been launched in response to the video's popularity; the merchandise features various quotes from the video and generally features the pink and blue unicorns, although Charlie appears occasionally, and is sold in several forms including t-shirts, pins, coffee mugs, and bandannas.

Sequels, spinoffs, and parodies.

Four sequels have been released: "Charlie the Unicorn 2", "Charlie the Unicorn 3", "Charlie the Unicorn 4", and "Charlie the Unicorn: The Grand Finale (Part One)" released in 2008, 2009, 2012, and 2019 respectively. On 23 February 2016, Film Cow released a video called "Charlie the Unicorn: The Grand Finale Kickstarter" in which it was announced that there was a thirty minute finale planned. On 24 February, it was announced in a Live Stream of Charlie the Unicorn that if enough money for the finale was raised, then Aubrey Plaza would be hired to voice all of the characters., Plaza had not responded. Steele released the first part of the "Grand Finale" on YouTube on October 10, 2019, expecting to follow it up with five more parts.  The cast of "Charlie the Unicorn" also appeared on May 23, 2008, in the music video for Weezer's single "Pork and Beans". The music video was directed by Mathew Cullen of the video production company Motion Theory and features many internet phenomena, including Charlie and the blue and pink unicorns. The character of Charlie first appears in a sequence parodying the "G.I. Joe" public service announcements starring animated versions of the band as children, where the character Gung-Ho of the G.I. Joe franchise appears as their mentor and notably has a tattoo of Charlie on his chest. All three unicorns appear at the end alongside the band and various other phenomena.  On November 22, 2008, as a feature of the YouTube Live streamed event, the cast of "Charlie the Unicorn" were featured in a short film directed by creator Jason Steele featuring YouTube Live colliding with real life, causing several various memes to come to life, namely Rick Astley making a comeback and the world's weather conditions being altered in favor of raining chocolate. The short sequence was promoted with a forty-three-second video depicting Charlie and the two unicorns attempting to defuse a bomb before being attacked by a large group of seagulls; the short had no connection whatsoever to the video it was promoting other than advertising purposes.  On March 1, 2009, creator Jason Steele released a video to accompany Hot Topic's "Charlie the Unicorn" merchandising line titled "Charlie the Unicorn and the Tomb of Horrors"; the video follows Charlie and the two unicorns scaling an ancient chamber inhabited by "The Weasel," a shamanist weasel who has attempted to call upon forces of evil that laid waste to the world ten thousand years prior.  The video "Charlie the Unicorn at Playlist Live" was released on the 28th of March, 2013.  Steele also produced a parody series consisting of four shorts and titled "Charlie teh Unicron". "Charlie teh Unicron" is based around "what the Charlie the Unicorn series would be like if it was written by random internet people". Another parody, "Charlie the Yannicorn" was made in 2013. That same year, during the "Detective Heart of America: The Final Freedom" Kickstarter, another parody "Charlie the Unitective Heart of America" was released, featuring Heart of America as Charlie. Although not released on FilmCow's main channel, it can be found on a playlist.  Multiple livestreams featuring Charlie answering questions, telling jokes, and just generally talking to the viewers were conducted on the FilmCow YouTube channel as part of a promotion for the finale Kickstarter in early 2016. As of December 2017, only "Charlie the Unicorn's LIVE Oscars Spectacular!" - a stream which ran at the same time as the 88th Academy Awards - has been made publicly available (though unlisted) since the original streams were conducted.  A game titled "Charlie the Unicorn Dating Simulator" and a storybook titled "Charlie the Unicorn: Lost in Dream Space" were released by Steele in 2016. According to Steele, the storybook is "an illustrated side-adventure that takes place a little while after the end of Charlie the Unicorn 2".

"Charlie the Unicorn" is a 2005 Flash animated comedy short film and viral video created by Jason Steele of independent film company FilmCow in Orlando, Florida. The short follows Charlie, a lethargic unicorn, who is taken by two other unicorns on an adventure to the mythical "Candy Mountain." However, as it turns out, the journey is a lie, and Charlie gets hoodwinked by the other unicorns.


Career.

Arriving in Nebraska in 1854, he quickly affiliated himself with the Republican Party and actively participated in politics, as well as owning a large farm near Omaha. He became the major general of the Territorial Militia and gained a reputation as an Indian fighter in his encounters with the local Pawnee.  Thayer served as delegate to the 1860 State Constitution Convention which organized the Republican Party in the Nebraska Territory. He was elected to the Nebraska Territorial Legislature in 1860.

Civil War.

With the outbreak of the Civil War, Thayer wrote a letter to Secretary of War Simon Cameron asking that he be allowed to raise a Nebraska regiment in response to President Abraham Lincoln's call for volunteers. He resigned his legislative seat in June 1861 to become Colonel of the 1st Nebraska Infantry Regiment, and spent the entire war fighting in the Western Theater. He commanded a brigade under Lew Wallace in the battles of Fort Donelson and Shiloh. Promoted to brigadier general in October 1862, he led a brigade in the XV Corps. He saw action at the battles of Chickasaw Bayou and Fort Hindman and the siege of Vicksburg.  Thayer was then assigned to the cavalry and commanded the District of the Frontier with his headquarters in Fort Smith, Arkansas. He participated in the Camden Expedition and other actions in the region, seeing considerable action at the Battle of Prairie D'Ane. He commanded the rearguard of Frederick Steele's force at the Battle of Jenkins' Ferry, battling Confederate troops under Sterling Price for over four hours before forcing Price to disengage. His delaying action enabled Steele to successfully extricate his army to safety.  In February 1865, Thayer was relieved of command of Fort Smith and sent to the smaller post at St. Charles, Arkansas, with a regiment of Kansas cavalry and a single artillery battery. However, with the omnibus promotions of leading generals at the close of the war, Thayer was brevetted major general of volunteers in 1865.

Postbellum career.

After the Civil War, Thayer served as a member of the 1866 State Constitutional Convention. Upon the admission of Nebraska into the Union as a state, he was elected as one of its first two United States senators. He served as a member of the Senate from 1867 to 1871, when he was unsuccessful in winning reelection.  President Ulysses S. Grant appointed Thayer Governor of the Territory of Wyoming in February 1875 and he took the oath of office March 1, 1875. His service ended on May 29, 1878, and he returned to Nebraska to resume his law practice.  In 1886, Thayer secured the Republican gubernatorial nomination and was elected Governor of Nebraska by popular vote. He served two full terms as Governor of Nebraska, from 1886 to 1888. He was the seventh governor of Nebraska.  Thayer served part of a third term, (May 5, 1891February 8, 1892). He contested the results of the 1890 election, in which he lost to James E. Boyd; Boyd was initially installed as governor, but Thayer again became governor until the election was ruled in favor of Boyd. He then retired from public life to follow literary pursuits.

Death and legacy.

John M. Thayer died in Lincoln, Nebraska, and was buried in Wyuka Cemetery in Lincoln, Nebraska.  Thayer County, Nebraska, is named for Thayer. A bust of Thayer is located on the grounds of the Vicksburg National Military Park in Mississippi. The bust was erected in May 1915 and was sculpted by T.A.R. Kitson.

External links.

Retrieved on 2008-02-12

John Milton Thayer (January 24, 1820March 19, 1906) was a general in the Union Army during the American Civil War and a postbellum United States Senator from Nebraska. Thayer served as Governor of Wyoming Territory and Governor of Nebraska.


Development and release.

"Too Lost in You" is a rendition of "Quand j'ai peur de tout" (""When I'm Afraid of Everything""), a 1997 song performed by French singer Patricia Kaas. It was written in English by American songwriter Diane Warren for the Sugababes' third studio album, "Three" (2003). Warren composes her songs in an uncleaned room, where she is seated on an old stool and surrounded by keyboards, drum machines, and a tape recorder. Group member Heidi Range commented on the experience of collaborating with Warren, saying: "It could be easy to turn around and make people feel not as important as you. She made us feel 100 percent comfortable." The song was produced by Andy Bradfield and the Australian musician Rob Dougan, and mixed by Bradfield. It was recorded at Realsongs, which is located in Hollywood and shares the name of Warren's publishing company. "Too Lost in You" was programmed by Yoad Nevo, who also provided the instruments. The group members' vocals were engineered by Mario Luccy and produced by Khris Kellow. According to Range, "Too Lost in You" represented all three group members' romantic lives, saying: "You need that comfort when you go home."  "Too Lost in You" is prominently featured on the soundtrack to the romantic comedy film "Love Actually", which was released to cinemas in the United Kingdom on 21 November 2003. The director, Richard Curtis, specifically chose the song for the film, and described the soundtrack as "the life and soul of the film." According to Heather Phares of AllMusic, "[a]n emphasis on songs from British artists, such as Sugababes' "Too Lost in You" [...] keep the soundtrack from becoming too predictable". "Too Lost in You" is the second single from "Three", and was released as a CD single and 12-inch single in the United Kingdom on 15 December 2003. The song's release around Christmas time prompted several media outlets to classify it as a contender for the 2003 Christmas number one.

Composition.

"Too Lost in You" is a downtempo pop rock and R&B ballad, backed by an orchestral music arrangement that consists of a piano and strings. A writer from "Music Week" noted that Dougan's production of the song provides it with a "dramatic, string-soaked feel". According to the digital sheet music published by EMI Music Publishing, the song was composed in the key of C sharp minor using common time signature, at a tempo of 98 beats per minute. The Sugababes' vocal range in the song spans from the lower note of E to the higher note of C#. Like many of Warren's compositions, the lyrics follow the verse-chorus form; the song also includes a middle eight performed by Range. "Too Lost in You" is emotive and melodic, and presents the group's dark harmonies throughout. According to Harry Rubenstein of "The Jerusalem Post", "[in 'Too Lost in You'] we're led to believe that these girls are actually losing control in a moment of passion, but the song refrains from moving into typical pop fairy-land characters". A survey conducted by scientists in 2004 found that the song's slow tempo can assist in the prevention of accidents and promotion of safer driving.

Critical response.

The song received generally positive reviews from most critics. Simon Evans of musicOMH described "Too Lost in You" as "instantly, infectiously likeable" and called it one of the album's best tracks. According to Alan Braidwood of BBC Music, the ballads from "Three", including "Too Lost in You", match the quality of the group's songs "New Year" and "Stronger". Dan Gennoe of Yahoo! Music interpreted the song as a reminder that the Sugababes "handle trip-hop melancholy with the same devastating confidence as their seething club stomps". "Herald Sun" critic Cameron Adams wrote that the group made "Too Lost in You" sound edgy and described it as "stunning". Writing for "Hot Press", Phil Udell praised the Sugababes' performance of the ballad, which he considered a transition from Warren's "big radio number" into "something genuinely lovely".  Becky Howard and Andrew Williams of the "London Evening Standard" wrote that "Too Lost in You" "[sweeps] you up all misty-eyed" and regarded it as "utterly brilliant" in comparison to "Caught in a Moment", another ballad from "Three". "The Observer"s Kitty Empire was unfavourable and criticised the song's "dead maturity", while Stuart McCaighy of "This Is Fake DIY" regarded the song as turgid. Fiona Shepherd of "The Scotsman" dismissed lines such as "Flowing into your arms, falling into your eyes" as "lyrical gubbins" and stated that the song's release would be "for the name behind [it] rather than any individual merits". In 2007, Udell described "Too Lost in You" as one of the finest pop songs of the 2000s. James Mortlock of the "Eastern Daily Press" considered it to be one of the group's classic pop singles, while "Daily Star"s Sarah-Louise James similarly regarded the song as a "goose-pimpling" classic.

Commercial performance.

"Too Lost in You" debuted on the Irish Singles Chart on 18 December 2003 at number 16 and peaked at number 13 in the issue dated 15 January 2004. The song achieved more success in the group's native United Kingdom; it entered the UK Singles Chart on 25 December 2003 at number ten, a position it held for two consecutive weeks. By early 2010, it had sold 145,000 copies in the United Kingdom, ranking as the Sugababes' tenth highest-selling single in the country. "Too Lost in You" was also a top-ten hit in various other European countries. The song peaked at number seven on the Norwegian Singles Chart and became the group's fifth top-ten hit in Norway. On the Swiss Singles Chart, it debuted at number 26 on 18 January 2004 and peaked at number eight on 1 February 2004. The single was the band's fourth top-ten single in Switzerland, spent 18 weeks on the chart, and ranked 53rd on the chart's 2004 year-end list. "Too Lost in You" entered the Dutch Top 40 chart at number 24 and reached number eight four weeks later, continuing the trio's string of top-ten singles in the Netherlands. The song peaked at number 13 on the Hungarian Dance Chart, 14 on the German Singles Chart, and number 17 on the Danish Singles Chart. It became the band's first top-forty hit on the French Singles Chart, where it appeared at number 22. "Too Lost in You" also reached the top forty on the singles charts of Australia, Austria, Belgium, New Zealand and Sweden.

Music video.

The music video for "Too Lost in You" was directed by Andy Morahan and filmed at London Stansted Airport in November 2003 over a two-day period. It premiered on the Sugababes' official website in the same month, and was included on the song's CD release. The video begins with the trio walking together in the airport. Buchanan captures the attention of a passenger and begins to have fantasies about him, in which she positions him into a chair and touches his body. In subsequent scenes, the man is shown handcuffed. Buena fantasizes about a worker who she sees in the airport and slices his shirt off with a sword. Range gets the attention of a flight attendant and has dream sequences of touching and kissing him; she also throws a large bag full of ice onto him.

Live performances.

The Sugababes performed "Too Lost in You" on the British television programme "TRL" in December 2003, and at the MTV Asia Awards on 14 February 2004. The song was one of six tracks that they played on 20 June 2004 at Live & Loud, a music event held at Hampden Park in Glasgow, Scotland. The group performed "Too Lost in You", along with "Hole in the Head" and "In the Middle", at Birmingham's Party in the Park festival on 10 July 2004. The song was played as part of a gig in August 2004 at Delamere Forest, Cheshire, in which a critic from the "Manchester Evening News" wrote that the Sugababes "showed they can handle a ballad as well as the uptempo material in their vast pop catalogue". The group sang "Too Lost in You" at the Edinburgh Corn Exchange on 18 August 2004 as part of a set list. The song was performed as part of the Sugababes' 2006 tour in support of "Taller in More Ways". They played it during a gig at the 100 Club, London on 3 October 2006 in promotion of their 2006 greatest hits album, "", and on the album's accompanying 2007 tour in the UK and Ireland. The group performed an acoustic version at the Peel Bay Festival during June 2007 in Peel, Isle of Man, as part of a set list; the event contained a crowd of 25,000 people.  The band played "Too Lost in You" in July 2007 at the Liverpool Summer Pops festival, which was held at the Aintree Pavilion. The group performed the single on 14 September 2007 at London's music club indig02, and according to Nick Levine of Digital Spy, their harmonies managed "the unfathomable trick of sounding both delicate and sturdy". "Too Lost in You" was included in the set list for their 2008 Change Tour. The trio played it on 3 July 2008 at the Liverpool Summer Pops, held in Echo Arena Liverpool. In June 2009, they performed the single at the Cannock Chase Forrest as part of a 75-minute show, and at Canterbury, Kent as the sixth song on the set list. During the latter performance, members of the crowd began to leave the event after Range forgot the words to the song. The Sugababes performed "Too Lost in You" on 10 July 2009 at the Riverside Ground in County Durham, England, as part of a set list, and on 12 July 2009 at the Cornbury Music Festival. In early 2010, the fourth line-up of the Sugababes, comprising Range, Amelle Berrabah and Jade Ewen, played the single during the album launch for "Sweet 7" as the fourth song on the set list. In November 2010, the three singers performed "Too Lost in You" at the Yas Hotel in Abu Dhabi along with many other of the group's songs.  Mutya Keisha Siobhan, the group's original line-up, performed the song along with Promises, Overload, Run For Cover, Freak Like Me, Push The Button, Hole In The Head and Stronger as part of the Sacred Three tour.

Credits and personnel.

Recording  Personnel  Credits are adapted from the liner notes of "" (2006).

"Too Lost in You" is a song by English girl group Sugababes, from their third studio album "Three" (2003). It was written by American songwriter Diane Warren as an English rendition of the song "Quand j'ai peur de tout" ("When I'm Afraid of Everything") by French singer Patricia Kaas (which had lyrics in French by Jean-Jacques Goldman). The song was produced by the Australian musician Rob Dougan in collaboration with Andy Bradfield, and recorded at the Realsongs studio in Hollywood. "Too Lost in You" is prominently featured in the soundtrack to the 2003 film "Love Actually", and was chosen for the film specifically by its director Richard Curtis. It is a pop rock and R&B ballad composed of an orchestral music arrangement and dark harmonies.


Background.

On 19 November 2011, MRT invited Kaliopi to represent Macedonia at the Eurovision Song Contest 2012. After this announcement, Kaliopi and MRT held a press conference where Kaliopi revealed that she was unsure about what type of song she would take to the competition, but that she would consider her own compositions as well as those of her colleagues and international submissions. The instrumental composition for Crno i belo was sent to Kaliopi by former band member and ex-husband Romeo Grill, with whom she had extensively collaborated with previously on solo material, as well as decades prior when the band "Kaliopi" was still active. Kaliopi wrote lyrics for the composition and proceeded with recording the song in early 2012 with Grill at the MRT studio in Skopje.

Eurovision Song Contest.

On 29 February, in an hour and a half long program aired by MRT, Kaliopi was joined by musical guests from the region where she performed songs from her repertoire, as well as unveiling Crno i belo for the first time. In the same evening Kaliopi also performed the English version of the song, Black and White.  Macedonia was drawn to compete 2nd at the second semi-finals on 24 May. The song eventually advanced into the finals and was drawn to perform 22nd in the line-up. At the grand final, held on 26 May, the song eventually placed 13th, with 71 points. It scored the same as 12th placed Romania's Mandinga, but the latter earned points from more countries, causing Kaliopi to place 13th instead.

Music video.

The music video for "Crno i belo", directed by Aleksandar Ristovski - Princ, was filmed in Bitola. The video premiered on 17 March 2012. It is set in an empty theatre and abandoned building. Kaliopi performs the song with a piano on stage while supporting musicians are filmed at other locations. The video was submitted as the official preview video for Macedonia in the Eurovision Song Contest.

Crno i belo ("Black and White"; ) is a song by Macedonian singer-songwriter Kaliopi. The song was written by Kaliopi and Romeo Grill and produced by Grill. It is best known as Macedonia's entry at the Eurovision Song Contest 2012 held in Baku, Azerbaijan. The song qualified Macedonia to the final evening of the competition after a preceding four-year period of non-qualifying entries. The song placed 13th in the competition with a total of 71 points, receiving top marks from Bosnia and Herzegovina and Serbia.


Origins.

The Hata are said to have come to Japan from China through the Chinese Lelang Commandery, then through the Kingdom of Baekje (both on the Korean peninsula). Lelang, near what is today Pyongyang, was the greatest of the Four Commanderies of Han created in 108 BC in the areas captured after the conquest of the Wiman Joseon state (194 BC – 108 BC), which corresponds to the current North Korea, by Emperor Wu of the Chinese Han dynasty. A flux of Chinese immigration into the Korean peninsula continued without cessation, implanting Chinese culture and technology there. Some scholars say the Hata clan did not come from Baekje, but from the Silla or Gaya area.  The first leader of the Hata in Japan, Uzumasa-no-Kimi-Sukune, arrived during the reign of Emperor Chūai, in the 2nd century CE. According to the "Nihon Shoki", a Heian-period Japanese chronicle, he and his followers were greeted warmly, and Uzumasa was granted a high government position.  Roughly one hundred years later, during the reign of Emperor Ōjin, a Korean prince,, visited Japan from the Kingdom of Baekje, in Korea. He had long wanted to emigrate to Japan, but the Kingdom of Silla would not permit him to do so. Having enjoyed the experience of meeting 120 people of his clan at Mimana.  Yuzuki no Kimi left Japan but soon returned, in 283, with additional members of his clan "from 120 districts of his own land", as well as a massive hoard of treasures, including jewels, exotic textiles, and silver and gold, which were presented to the Emperor as a gift. The Hata are said to be descended from Yuzuki no kimi, who was allegedly a descendant of Qin Shi Huang, the first emperor of the Qin Dynasty.

Spread.

The Hata were the most prominent inhabitants of the Kyoto basin at the time the area entered into history, in the 6th and 7th centuries.  The Hata are said to have been adept at financial matters, and to have introduced silk raising and weaving to Japan. For this reason, they may have been associated with the "kagome" crest, a lattice shape found in basket-weaving. During the reign of Emperor Nintoku (313-399), the members of the clan were sent to different parts of the country to spread the knowledge and practice of sericulture. Members of this clan also served as financial advisors to the Yamato Court for several centuries. Originally landing and settling in Izumo and the San'yō region, the Hata eventually settled in the areas where Japan's most important cities are now. They are said to have aided in the establishment of Heian-kyō (modern-day Kyoto), and of many Shinto shrines and Buddhist temples, including Fushimi Inari Taisha, Matsunoo Taisha, and Kōryū-ji. Emperor Yūryaku granted the clan the family name of Uzumasa in 471, in honor of Sake no kimi's contributions to the spread of sericulture. Over the next few centuries, they were given the right to the status ("kabane") of Miyatsuko, and later Imiki.  A number of samurai clans, including the Chōsokabe clan of Shikoku, the Kawakatsu clan of Tanba, and the Jinbō clan of Echigo province, claimed descent from the Hata. The Koremune clan, also allegedly descended from the Emperor of Qin, were related to the Hata as well. Prince Koman-O came to dwell in Japan in the reign of Emperor Ōjin (c. 310). His successors received the name Hata. This name was changed to Koremune in 880. The wife of Shimazu Tadahisa (1179–1227) (son of Minamoto no Yoritomo and ancestor of the Shimazu clan of Kyūshū), was a daughter of Koremune Hironobu.  The population of Neyagawa in Osaka Prefecture includes a number of people who claim descent from the Hata. The cities of Ōhata and Yahata are not directly related to Hata clan.  The Hata were also claimed as ancestors by Zeami Motokiyo, the premiere Noh playwright in history, who attributed the origins of Noh to Hata no Kawakatsu. According to Zeami's writings, Kōkatsu, the ancestor of both the Kanze and Komparu Noh lineages, was the first to introduce "kagura" Shinto ritual dances to Japan in the sixth century; this form would later evolve into "sarugaku" and then into Noh.

Jewish ancestry theory.

The hypothesis that the Hata clan were a Jewish Nestorian tribe was proposed by Saeki Yoshiro in 1908. Saeki developed a theory described by Ben-Ami Shillony as being "somewhat similar" to that advanced by Norman McLeod in 1879.  In 1879 the Scottish businessman Norman McLeod, who had lived in Japan since 1867, published in Nagasaki "Japan and the Lost Tribes of Israel". Based on "personal research and observation", the book identified the Japanese as the descendants of the Ten Lost Tribes... Over thirty years later, in 1908, Saeki Yoshiro (1872-1965), a Waseda University professor, a Christian, and expert on Chinese Nestorians, published a book in which he developed a somewhat similar theory. According to Saeki, the Hata clan, which arrived from Korea and settled in Japan in the third century, was a Jewish-Nestorian tribe... Saeki's writings spread the theory about "the common ancestry of the Japanese and the Jews" ("Nichi-Yu dosoron") in Japan, a theory that was endorsed by some Christian groups.  There is no evidence available, including modern DNA analysis, to support this hypothesis. A recently published study of the genetic origins of Japanese people does not support a genealogical link as put forward by Saeki. Researcher and author Jon Entine emphasizes that DNA evidence excludes the possibility of significant links between Japanese and Jews.

The was an immigrant clan active in Japan since the Kofun period (250–538), according to the history of Japan laid out in "Nihon Shoki".


Overview.

Much like the continuous Galerkin (CG) method, the discontinuous Galerkin (DG) method is a finite element method formulated relative to a weak formulation of a particular model system. Unlike traditional CG methods that are conforming, the DG method works over a trial space of functions that are only piecewise continuous, and thus often comprise more inclusive function spaces than the finite-dimensional inner product subspaces utilized in conforming methods.  As an example, consider the continuity equation for a scalar unknown formula_1 in a spatial domain formula_2 without "sources" or "sinks" :  where formula_4 is the flux of formula_1.  Now consider the finite-dimensional space of discontinuous piecewise polynomial functions over the spatial domain formula_2 restricted to a discrete triangulation formula_7, written as  The index formula_13 should show the relation to an underlying discretization given by formula_14. Note here that formula_9 is not uniquely defined at the intersection points formula_16.  At first we make use of a specific polynomial basis on the interval formula_17, the Legendre polynomials formula_18, i.e., Note especially the orthogonality relations Transformation onto the interval formula_21, and normalization is achieved by functions formula_22 which fulfill the orthonormality relation Transformation onto an interval formula_10 is given by formula_26 which fulfill For formula_29-normalization we define formula_30, and for formula_31-normalization we define formula_32, s.t.  Finally, we can define the basis representation of our solutions formula_34 Note here, that formula_34 is not defined at the interface positions.  Besides, prism bases are employed for planar-like structures, and are capable for 2-D/3-D hybridation.

DG-scheme.

The conservation law is transformed into its weak form by multiplying with test functions, and integration over test intervals By using partial integration one is left with The fluxes at the interfaces are approximated by numerical fluxes formula_39 with where formula_41 denotes the left- and right-hand sided limits. Finally, the "DG-Scheme" can be written as

Scalar elliptic equation.

A scalar elliptic equation is of the form  This equation is the steady-state heat equation, where formula_44 is the temperature. Space discretization is the same as above. We recall that the interval formula_45 is partitioned into formula_46 intervals of length formula_47.  We introduce jump formula_48 and average formula_49 and The linear forms formula_51 and formula_52 are and  The penalty parameter formula_55 is a positive constant. Increasing its value will reduce the jumps in the discontinuous solution. The term formula_56 is chosen to be equal to formula_57 for the symmetric interior penalty Galerkin method; it is equal to formula_58 for the non-symmetric interior penalty Galerkin method.

In applied mathematics, discontinuous Galerkin methods (DG methods) form a class of numerical methods for solving differential equations. They combine features of the finite element and the finite volume framework and have been successfully applied to hyperbolic, elliptic, parabolic and mixed form problems arising from a wide range of applications. DG methods have in particular received considerable interest for problems with a dominant first-order part, e.g. in electrodynamics, fluid mechanics and plasma physics.


Personal.

Chen was born in Taiwan. He earned a BA degree (1971) and MA degree (1973) in law from the National Taiwan University.

Politics.

FSC Chairmanship.

Sean Chen's popularity grew in Taiwan when he was the Chairman of the Financial Supervisory Commission who signed three Memoranda of Understanding with his Mainland Chinese counter parties in January 2010 in the field of Banking, Insurance and Investments. This was viewed as a major milestone in furthering economic ties with the Chinese, allowing Taiwanese financial institutions access to the Mainland's vast and fast growing markets. In a discussion with Sam Radwan that appeared in an article in Bloomberg Businessweek he showed confidence that he would be able to achieve preferential treatment for Taiwan in what is considered by many foreign financial services institutions to be a market where Chinese regulators have not provided a level playing field.

ROC Premiership.

On 6 February 2012, Chen was appointed Premier of the Republic of China in succession to Wu Den-yih. After one year of economic challenges and considerable public criticism, he stepped down from his office on health grounds on 1 February 2013, to be replaced by the Vice Premier Jiang Yi-huah.

Cross-strait relations.

In March 2012, Chen gave his view on cross-strait relations at the Legislative Yuan. He agrees to the One-China policy, and that China is the Republic of China. Chinese mainland area belongs to the same country as Taiwan area, but it's just that Mainland China is not under the effective control of the ROC government.

Chen Chun (; born 13 October 1949), also known as Sean Chen in English, is a former Premier of the Republic of China, a member of the Kuomintang.


History.

In 1948, Chamberlin reported results of the first market experiment. Since then the acceptability, recognition, role, and methods of experimental economics have evolved. From the early 1980s on a similar pattern emerged in experimental finance. The foundational work in experimental finance was the work of Forsythe, Palfrey and Plott (1980), Plott and Sunder (1982), and Smith, Suchanek and Williams (1988).

Scientific value.

Financial economics has one of the most detailed and updated observational data available of all branches of economics. Consequently, finance is characterized by strong empirical traditions. Lots of analysis is done on data from stock exchanges including bids, asks, transaction prices, volume, etc. There is also data available from information services on actions and events that may influence markets. Data from these sources is not able to report on expectations, on which theory of financial markets is built. In experimental markets the researcher is able to know expectations, and control fundamental values, trading institutions, and market parameters such as available liquidity and the total stock of the asset. This gives the researcher the ability to know the price and other predictions of alternative theories. This creates the opportunity to do powerful tests on the robustness of theories which were not possible from field data, since there is little knowledge on the parameters and expectations from field data.

Advantages.

Financial data analysis is based on data drawn from settings created for a purpose other than answering a specific research question. This results in the situation where any interpretation of the results may be challenged since it ignores other variables that have changed. Traditional data analysis issues include omitted-variables biases, self-selection biases, unobservable independent variables, and unobservable dependent variables.  Properly designed experiments are able to avoid several problems:  Omitted-variables bias: Multiple experiments can be created with settings that differ from one another in exactly one independent variable. This way all other variables of the setting are controlled, which eliminates alternative explanations for observed differences in the dependent variable.  Self-selection: By randomly assigning subjects to different treatment groups, the experimenters avoid issues caused by self-selection and are able to directly observe the changes in the dependent variable by changing by altering certain independent variables.  Unobservable independent variables: Experimentalists can create experimental settings themselves. This makes them able to observe all variables. Traditional data analysis may not be able to observe some variables, but sometimes experimenters cannot directly elicit certain information from subjects either. Without directly knowing a certain independent variable, good experimental design can create measures that to a large extent reflects the unobservable independent variable and the problem is therefore avoided.  Unobservable dependent variables: In traditional data studies, extracting the cause for the dependent variable to change may prove to be difficult. Experimentalists have the ability to create certain tasks that elicit the dependent variable.

Types of experiments.

Laboratory experiments.

Laboratory experiments are the most common form of experimentation. Here the idea is to construct a highly controlled setting in a laboratory. The use of lab experiments increased due to growing interest in issues such as economic cooperation, trust, and neuroeconomics. In this type of experiments, treatment is assigned randomly to a group of individuals in order to compare their economic actions and behavior to an untreated control group within the artificial laboratory environment. The ability to control the variables in the experiment provides for more accurate assessment of causality.

Controlled field studies or randomized field experiments.

Controlled field experiments also randomize treatments but do so in real world applications. Average effects on people's behavior can then be consistently estimated by comparing behavior before and after the allocation.

Natural experiments.

A natural experiment happens when some feature of the real world is randomly changed which allows using the exogenous variation due to this change to study causal effects of an otherwise endogenous explanatory variable. Natural experiments are popular in economic and finance research since they offer intuitive interpretation of the underlying identifying assumptions and enable a broader audience to check their consistency, this compared to purely statistical identification.

Main findings.

Experimental methods in finance offer complementary methodologies that have allowed for the observation and manipulation of underlying determinants of prices, such as fundamental values or insider information. Experimental studies complement empirical work, particularly in the area of theory testing and development. Exploiting this experimental methodology has revealed some important findings over the past years. These findings could not have been reached by traditional field data analysis alone and are therefore experimental finance’s main contributions to the field of finance:

The goals of experimental finance are to understand human and market behavior in settings relevant to finance. Experiments are synthetic economic environments created by researchers specifically to answer research questions. This might involve, for example, establishing different market settings and environments to observe experimentally and analyze agents' behavior and the resulting characteristics of trading flows, information diffusion and aggregation, price setting mechanism and returns processes.


Transnational Speedway League: Anthems, Anecdotes, and Undeniable Truths

Background.

Initial recording sessions for "Transnational Speedway League" began in January 1993 at Razor's Edge Studio in San Francisco, California with producer Jonathan Burnside, during which the songs "Binge and Purge", "Bacchanal", "Earthworm", "Heirloom", "Walking in the Great Shining Path of Monster Trucks" and "Effigy" were recorded and mixed. After a short break, Clutch returned to the studio in April to complete the album, working with producer Steven Haigler at Spa Studio Inc. in New York City, New York on the remaining songs, "A Shogun Named Marcus", "El Jefe Speaks", "12 Ounce Epilogue", "Milk of Human Kindness" and "Rats".  "Transnational Speedway League" has been described by commentators as one of the heaviest releases of Clutch's career. "Metal Hammer" writer Mörat described the album as "a stark reminder of just how good angry music could sound", noting its presence in a scene dominated by "the grunge explosion" which was much less heavy. According to Mörat, opening song "A Shogun Named Marcus" had to be removed from the band's live set lists for several years "because it incited people to kick the shit out of each other". The album received a Parental Advisory sticker for the repeated use of the word "motherfucker" in the song "Binge and Purge".  The album was promoted by the release of a music video for the song "A Shogun Named Marcus", which was directed by Dan Winters who also provided photography for the album. The band toured throughout 1994 in promotion of the album, including support dates for Brazilian groove metal band Sepultura, American industrial metal band Fear Factory and British sludge metal band Fudge Tunnel.

Reception.

Media response to "Transnational Speedway League" was generally positive. Jeremy Ulrey of AllMusic praised the album for its "dogged hard rocking and consistent songwriting prowess", highlighting the first half of the album over the second half but overall dubbing it "one of the brighter debuts to emerge in the '90s". In a feature published in 2016, "Metal Hammer" columnist Mörat ranked "Binge and Purge" on his list of "The top 10 best Clutch songs", outlining that "it doesn't get much heavier than this, the third track from Clutch's debut album", and describing the song as "quite simply, music to kill people to". In an earlier feature, in which he hailed the album as being "in a class of its own", Mörat also praised opening track "A Shogun Named Marcus", which he credited as "the moment when many a rock fan became a Clutch devotee... the 'wow' moment".

Transnational Speedway League: Anthems, Anecdotes and Undeniable Truths (often shorted to Transnational Speedway League) is the debut studio album by American hard rock band Clutch. Recorded at Razor's Edge Studio in San Francisco, California with producer Jonathan Burnside and at Spa Studio Inc. in New York City, New York with producer Steven Haigler, it was released by EastWest Records on August 17, 1993. The album was promoted by a music video for opening track "A Shogun Named Marcus", directed by Dan Winters.


Preparations.

The first child to be born to Anne and James after James succeeded Elizabeth I of England, her birth was thus awaited with much excitement among both the Scottish and the English. Disputes among nobility as to the distribution of places in the establishment for the unborn child were very common. In January 1605 Sir Richard Leveson talked to one of the royal physicians, and had courtiers praise Anne Newdigate to the queen in an unsuccessful attempt to get her made nurse. Samuel Calvert said there would be 40 or more nurses and women to rock the cradle and other positions. The cost of rich fabrics ordered by the king for the christening went up to £300, currently worth around £790,000. Linen provided by Audrey Walsingham to be used by the queen in childbed and by the baby in the first year cost £600.  Even a few days before the birth, Anne had not decided who would be the midwife and kept three women near her, without making a choice. Finally, Alice Dennis was chosen and received a reward of £100.

Life.

Finally, on 8 April 1605, at Greenwich Palace, Anne of Denmark delivered a girl. Although the peoples of King James were slightly disappointed, the birth of the first princess of the two united realms was a cause for celebration. Throughout the realms, bonfires were lit and church bells rung all day long; the celebrations were encouraged by the fact that 68 years had elapsed since the birth of a child to an English sovereign, the last being Edward VI. The next day, King James drank health to his wife and new daughter. In letters announcing Mary's birth to his relatives, James described her as "a most beautiful infant" and punned on her not-yet-revealed name, saying that "if I would not pray "to" the Virgin Mary, I would pray "for" the Virgin Mary."  Preparations for a royal christening started immediately after the birth. The location decided upon was the chapel at Greenwich Palace and the date, 5 May. Mary was carried by Elizabeth de Vere, Countess of Derby, who was supported by the Dukes of Holstein and Lennox. The infant's clothing, a train of purple velvet, embroidered with gold and furred with ermines, was supported by two countesses, being so long that it fell to the ground. The archbishop of Canterbury, Richard Bancroft, christened the child with the name Mary, as her godparents, Ulrik of Denmark, brother to the queen, Lady Arbella Stuart, first cousin to the king, and Dorothy Percy, Countess of Northumberland, had decided to name her. Immediately after the ceremony was complete, the noblemen put on their coats and the trumpets sounded. As a way to further celebrate this joyful occasion, the king presented Queen Anne with new jewelry and created several new peerages.  On the 19 May 1605, Anne of Denmark, who had no role at the christening, was "churched". This ceremony took place at Greenwich Palace. The king and the lords heard a sermon in the King's Closet. He then went into the Chapel. The Queen came from her private lodging, where she had had her "laying in", to her Closet with a train of ladies. Some of the lords came to bring her into the Chapel, and she came to the altar supported by the Dukes of Holstein and Lennox., then went to her seat in a canopy called a "traverse" opposite the king. After prayers and music the king and queen came to the altar together and embraced, then walked to the door of the King's Presence Chamber.  Mary was given into the care of Sir Thomas Knyvet, afterwards Lord Knyvet, who helped arrest Guy Fawkes and stop the Gunpowder Plot. On 1 June 1605, Mary was sent to Stanwell, Middlesex, to Knyvet's residence. He built new lodgings for the women of Mary's household. He was given £20 per week for the infant princess's diet and that of her suite, consisting of six rockers and several inferior attendants; but the King himself paid their wages, the expenses of moving young Mary from house to house, of her coach and horses and other such costs. Elizabeth Hayward, Knyvet's wife, took great care of her "royal charge" during her short life.

Death and burial.

At 17 months old, Mary contracted a violent cold that developed into pneumonia. She was constantly feverish and Queen Anne was called to Stanwell and frequently visited her young child. An eyewitness account later preached at her funeral stated that "such was the manner of her death, as bred a kind of admiration in us all that were present to behold it. For, whereas the new-tuned organs of her speech, by reason of her wearisome and tedious sickness, had been so greatly weakened, that for the space of twelve or fourteen hours at the least, there was no sound of any word heard breaking from her lips; yet when it sensibly appeared that she would soon make a peaceful end of a troublesome life, she sighed out these words, 'I go, I go!' and when, not long after, there was something to be ministered unto her by those that attended her in the time of her sickness, fastening her eye upon them with a constant look, again she repeated 'Away, I go!' And yet, a third time, almost immediately before she offered up herself, a sweet virgin sacrifice, unto Him that made her, faintly cried 'I go, I go!' The more strange did this appear to us that heard it, in that it was almost incredible that so much vigor should still remain in so weak a body; and whereas she had used many other words in the time of her extremity, yet now at last, as if directed by supernatural inspiration, she did so aptly utter these, and none but these."  As soon as Mary died, the Earl of Worcester, the Earl of Leicester and the Earl of Totnes went to Hampton Court Palace, to inform the queen of her daughter's death. Seeing the three men before her, Queen Anne realized what had happened and spared the men the task of telling her. After showing the normal maternal signs of sorrow, she demanded that the king be told of Mary's death, an autopsy performed and a funeral prepared. Thus, a private ceremony took place at Westminster Abbey's Henry VII Lady Chapel on 23 September and Mary's embalmed body was buried opposite of her sister Sophia's tomb.  Her effigy, created by Maximilian Colt, represented a young girl, clad in a mature dress, with the traditional ruff, carved in ivory. It reads (or read in the nineteenth century) "I, Mary, daughter of James, King of Great Britain, France and Ireland and of Queen Anne, received into heaven in early infancy, found joy for myself, but left longings for my parents, on the 16th of September, 1607. Ye congratulators, condole: she lived only 1 year [sic, according to Everett Green] 5 months and 88 days."

Mary Stuart (8 April 1605 16 September 1607) was the third daughter and sixth child of James VI and I, the first king of a unified England, Scotland and Ireland, by Anne of Denmark, daughter of Frederick II of Denmark and sister of Christian IV of Denmark; her birth was much anticipated. She developed pneumonia at 17 months and died the following year.


Career.

Early career.

Fajr was born in the city of Rouen and began his career with local amateur club Sottevillais Cheminots. In 2000, he joined the youth academy of professional club Le Havre. After three years, Fajr was released after being told he lacked the physical requirements to remain. He, subsequently, returned home to join hometown club Rouen. Fajr spent two years at the club and, in 2005, signed a contract with CMS Oissel. With Oissel, he played in the Championnat de France amateur 2, the fifth division of French football.  After two seasons playing on the senior team of Oissel, in 2008, Fajr moved up one division to sign with Étoile Fréjus Saint-Raphaël, then known as ES Fréjus. In his first season with the club, he appeared in 29 matches scoring four goals. Fréjus finished second in its group, however, due to the "Direction Nationale du Contrôle de Gestion" ("National Directorate of Management Control") (DNCG) imposing sanctions on several clubs in the Championnat National, the club was given a spot in the third division. After playing mainly as a substitute in his inaugural season with the club, Fajr became a starter in the club's first season in National. He appeared in 29 league matches as Fréjus finished mid-table. In his final season with the club, Fajr became the club's primary play-maker. He posted career-highs in appearances (34) and goals (8). Fréjus finished the campaign in sixth place.

Caen.

After a successful campaign with Fréjus, Fajr was linked to several professional clubs, most notably Nice, Dijon, Lens, and Reims. On 18 July 2011, it was confirmed that he would be joining Ligue 1 club Caen on a three-year contract. The transfer was completed the following day. Fajr was assigned the number 29 shirt and simultaneously made his professional and club debut on 28 August in a league match against Rennes. Three days later, in a Coupe de la Ligue match against Brest, he scored his first goal for Caen in a 3–2 victory. Caen were relegated to the Ligue 2 in his first season, but he helped them back up two seasons later. In the 2013–14 season, he scored 8 league goals in 35 games and Caen were promoted to the top-flight Ligue 1.

Spain.

On 24 June 2014, Fajr passed his medical and completed the move to the La Liga side Elche. He made his debut in the category on 24 August, coming on as a substitute for Ferrán Corominas in a 0–3 away loss against FC Barcelona.  On 6 August 2015 Fajr was loaned to fellow league team Deportivo de La Coruña, for one year. Ahead of the 2016–17 campaign, he signed a permanent contract with the club.  On 20 July 2017, Fajr signed a two-year deal with Getafe CF, still in the first division.

Return to Caen.

On 3 August 2018, after spending four years in La Liga, Fajr returned to his former club Caen.

International career.

Despite being born and raised in France, Fajr joined the Royal Moroccan Football Federation. He made his senior debut for the Morocco national football team in a 2018 World Cup qualifying game against Equatorial Guinea in a 1–0 loss.  In May 2018 he was named in Morocco’s 23-man squad for the 2018 FIFA World Cup in Russia. Morocco’s national football team played against Iran, Portugal, and Spain in the group stage. During Morocco’s match against Spain, Fajr made the corner kick that led to Youssef En-Nesyri’s goal with nine minutes remaining.

Fayçal Fajr (; born 1 August 1988) is a French-born Moroccan professional footballer who plays as an attacking midfielder for La Liga club Getafe.


Publication history.

The black-and-white weekly comic paper "Ally Sloper's Half Holiday", typically of eight tabloid pages and priced one penny, was first published on 3 May 1884, a short time after Ross, had sold the rights to the character to Gilbert Dalziel, an engraver and the publisher of "Judy". Initially launching the paper with proprietor W. J. Sinkins, Dalziel was soon in full control, publishing it from "The Sloperies", 99 Shoe Lane, EC. Alongside the strips featuring Sloper, the magazine also featured prose stories and cartoons and strips of other characters.  Sales of the magazine have been estimated as being as high as 350,000, the magazine describing itself as "the largest selling paper in the world". The paper found a mixed audience: aimed at adults it captured both a loyal working class, male base, as well as attracting a cult following amongst the middle class of the time.  Although the weekly initially ceased publication on 9 September 1916, after 1,679 issues, it was later revived between 5 November 1922 and 14 April 1923, again from 1948 to 1949, and finally from 1976 to 1977, each attempt failing to capture the imagination of the British public as the original once had.  In 2001, a copy of the first issue fetched £3,600 at an English auction house.

Contributors.

William Giles Baxter took over art duties for the Sloper character with issue 13.  William Fletcher Thomas became the artist on the Ally Sloper strips following Baxter's death in 1888.  James Gibbins contributed his expertise in the field of handwriting, a skill he put forward to the police at the time of the Jack the Ripper murders, offering to analyse items thought to be authored by the Ripper.  Thomas Burke contributed stories.

Influence.

The weekly comic paper is widely cited as being the first comic book or magazine to feature a regular character, and is also often cited as the first comic as well. "Half Holiday" helped established the financial viability of the medium and codified the British form to an extent visible many years later in publications such as "Viz". During 1908 C. H. Chapman illustrated the Ally Sloper character. Chapman was better known as the artist that drew Billy Bunter from 1911 until "The Magnet" folded in 1940. He continued to illustrate Billy Bunter in books through the 1950s.

Ally Sloper's Half Holiday was a British comics magazine, first published on 3 May 1884. It is regarded to be the first comic strip magazine to feature a recurring character. Star Ally Sloper, a blustery, lazy schemer often found "sloping" through alleys to avoid his landlord and other creditors, had debuted in 1867 in the humour magazine "Judy" — created by writer and fledgling artist Charles Henry Ross and inked and later fully illustrated by his French wife Emilie de Tessier under the pseudonym "Marie Duval" (or "Marie DuVal"; sources differ).