title: Sasha (DJ)

abstract: Alexander Paul Coe, known professionally as Sasha, is a Welsh DJ and record producer. He is best known for his live events and electronic music as a solo artist, as well as his collaborations with British DJ John Digweed as Sasha & John Digweed. He was voted as World No. 1 DJ in 2000 in a poll conducted by DJ Magazine. He is a four-time International Dance Music Awards winner, four-time DJ Awards winner and Grammy Award nominee. Sasha began his career playing acid house music in the late 1980s. He partnered with John Digweed in 1993, touring internationally and producing a series of mix albums. Sasha has remixed tracks for artists such as D-Ream, Madonna, Moby, the Chemical Brothers and Hot Chip. Sasha's remixing and production often combine electronic music genres, making it difficult for critics to pinpoint his musical style. As well as remixes and compilation albums, Sasha has produced three albums of original works: The Qat Collection in 1994, Airdrawndagger in 2002, and Scene Delete in 2016. After achieving success as a producer and DJ, Sasha worked with younger DJs and producers such as BT and James Zabiela. His use of live audio engineering equipment helped popularise technological innovations among DJs who formerly relied on records and turntables. In 2007, he formed a record label with Renaissance Records called emFire, which is the exclusive outlet for his new music.

text:
# Sasha (DJ)

**Alexander Paul Coe** (born 4 September 1969), known professionally as **Sasha**, is a Welsh DJ and record producer. He is best known for his live events and electronic music as a solo artist, as well as his collaborations with British DJ John Digweed as Sasha & John Digweed. He was voted as World No. 1 DJ in 2000 in a poll conducted by *DJ Magazine*. He is a four-time International Dance Music Awards winner, four-time DJ Awards winner and Grammy Award nominee.

Sasha began his career playing acid house music in the late 1980s. He partnered with John Digweed in 1993, touring internationally and producing a series of mix albums (compilations of other artists' work played in a continuous fashion).

Sasha has remixed tracks for artists such as D-Ream, Madonna, Moby, the Chemical Brothers and Hot Chip. Sasha's remixing and production often combine electronic music genres, making it difficult for critics to pinpoint his musical style. As well as remixes and compilation albums, Sasha has produced three albums of original works: *The Qat Collection* in 1994, *Airdrawndagger* in 2002, and *Scene Delete* in 2016.

After achieving success as a producer and DJ, Sasha worked with younger DJs and producers such as BT and James Zabiela. His use of live audio engineering equipment helped popularise technological innovations among DJs who formerly relied on records and turntables. In 2007, he formed a record label with Renaissance Records called emFire, which is the exclusive outlet for his new music.

## Early years

Sasha was born in Bangor, Wales, on 4 September 1969. His early musical taste was primarily Top 40 pop music like The The and The Police. After what he described as an "idyllic childhood", Sasha passed the entrance exam for Hatfield College at age 17. However, he did not like Epsom and left before completing his A-Level examinations. Instead of continuing his schooling, Sasha moved to Bangor to live with his father and stepmother. Sasha's stepmother forced him to take piano lessons which, although he disliked them at the time, he ultimately found to be beneficial to his music career.

Sasha became aware of electronic dance music in 1988 at The Haçienda, a Manchester dance venue. Drawn to the rough sound of acid house music and the rebellious attitude he associated with it, he visited Manchester weekly and soon moved to nearby Disley. Sasha purchased records and began to teach himself how to mix. A local DJ at a club Sasha frequented announced that he was looking for other DJs to travel with him on a regional tour; Sasha volunteered and made his first live appearance in nearby Stockport. He recalled of his debut, "I'd never even touched a Technics: I thought the pitch control was the volume, I didn't even know where to plug my headphones in! I'm sure I was absolutely horrendous."

Sasha soon found himself in debt due to low-paying performances and the many records he bought. To finance his record collection, he performed at illegal warehouse raves in the Blackburn and Blackpool areas. With the assistance of another local DJ, Jon DaSilva, Sasha secured work at The Haçienda, where he learned key mixing (matching melodic keys) from DaSilva and refined his ability to beatmatch (to synchronize the beats of two simultaneously playing records). Though he enjoyed playing at The Haçienda, in 1990 Sasha left for a club called Shelley's Laserdrome in Stoke-on-Trent. There, he established part of his signature sound by mixing euphoric acid house music with Italian piano house and emotional a cappellas. Because of his increased popularity and visibility at Shelley's, *Mixmag* featured Sasha on its first cover, under the headline "SASHA MANIA – THE FIRST DJ PINUP?". While continuing to DJ, Sasha began to produce several of his own dance tracks. This, he later noted, was contrary to the career paths of many successful DJs, for whom it was more common to start out as producers. Upon signing a recording contract, he also set up an entire recording studio at the same time, which led to a "painful learning curve" at the outset. He released his first Remix single, "Appolonia", The Sasha Mixes of the Italo House Track By Indie, under the name *BM:Ex* (the name is short for The Barry Manilow Experience, a joke in reference to Sasha's love of the piano), with producer Tom Frederikse on Union City Recordings. After DJing at Shelley's for several years, Sasha left his position because of increasing gang violence in and around the club. As a result of his growing reputation, Sasha was offered work in several London and Australian clubs. He accepted, instead, a spot in the DJ rotation at Renaissance, a club night started by Geoff Oakes at Venue 44 in Mansfield, England.

Later in 1993, Sasha, collaborating with Danny Campbell for Pete Tong's FFRR, produced "Together", his first single under the name *Sasha*. "Together" peaked on the UK Singles Chart at #57. With this success, Sasha began a series of records for Deconstruction Records with the singles "Higher Ground" and "Magic" (for which Digweed produced a remix) and *The Qat Collection* with Frederikse and vocalist Sam Mollison.

## Career

### Digweed era

In early 1993, Sasha partnered with fellow Renaissance DJ John Digweed. Sasha and Digweed honed their DJing skills, often performing in tandem and focusing on track selection and technical mixing abilities. Renaissance was pleased with their performances, and had the duo compile the triple-CD mix album *Renaissance: The Mix Collection*, releasing it on the club's own Renaissance Records label. The album featured tracks from such artists as Leftfield, Fluke, and 2 Bad Mice, and original productions and remixes from Sasha and Digweed. *The Mix Collection* was released soon after Sasha's departure from Renaissance in April 1994. Following his success at Renaissance, Sasha was again featured on *Mixmag* with the tagline "SON OF GOD?", though he resented the accolade. After touring together for two years, the duo became "true superstars" with the release of their double CD *Northern Exposure* on mega-label Ministry of Sound. Around this time, Sasha began a recurring mentorship and partnership with fellow producer BT with the album *Ima*. As well as providing guidance for BT, Sasha produced a "euphoric" and "introspective" 42-minute rendition of the album which formed the centrepiece of the UK release and appeared as a "bonus" second disc on the US release. He continued to advance his own production work by pairing with vocalist Maria Nayler to produce the single "Be as One", which reached #17 on the UK singles chart.

In 1997, Ministry of Sound released *Northern Exposure 2*, Sasha and Digweed's next double-CD entry in their Northern Exposure series. To support the album, the duo toured internationally, and in the process helped to define the sound of trance music in the late 1990s. After extensive touring, Digweed and Sasha took up residency at New York City's famous Twilo nightclub, where they would DJ for the entire night. In 1998, the two released separate mix albums on the Boxed label, as part of the Global Underground series: Digweed's *Global Underground 006: Sydney*, and Sasha's *Global Underground 009: San Francisco*, which drew from his experience touring on the West Coast of the United States. Both DJs formed their own record labels that year: Sasha created Excession Records and Digweed started Bedrock Records. Excession released fewer than ten records, the last in 1998; the experience, however, led Sasha to found the management agency Excession: The Agency LTD. Excession remains a booking agency for many DJs, including Hybrid, Nick Warren, and Steve Lawler.

Sasha reached a more mainstream audience with his remixes of Madonna's "Ray of Light" and GusGus's "Purple" for those artists' single releases. His success in pop music led him to score the music for the PlayStation video game *Wipeout 3*. In 1999, Sasha and Digweed reunited in the studio to record their third edition in the Northern Exposure series, *Northern Exposure: Expeditions*. In addition to mixing and DJing, Sasha joined Charlie May of Spooky to produce the *Xpander EP*, the title track of which many clubbers still view as "one of the greatest trance tracks of all time". He used the title track as a centerpiece for *Global Underground 013: Ibiza*, his second Global Underground release. Sasha continued his collaborations with BT on the track "Ride", which was released as a single on Yoshitoshi Records and on BT's *Movement in Still Life*. Soon after, he worked with Underworld's Darren Emerson on the single "Scorchio", Sasha's first charting single in four years. In between touring and producing original material, Sasha and Digweed released the mix album *Communicate* in 2000, prompting them to temporarily leave their Twilo residency for a promotional tour of the United States. *Communicate* had mixed reviews: *Spin* stated that despite a "few stellar moments, \[*Communicate*\] is ultimately a let-down". LAUNCHcast, too, described *Communicate* as "boring and lackluster...stalled in a monochrome world of dead beats".

During the late 1990s, the increased popularity and visibility of "superstar DJs" led to the creation of superclubs such as Liverpool's Cream and Sheffield's Gatecrasher. By 2003, however, electronic dance music clubs languished. *The Guardian'*s pop critic, Alexis Petridis, attributed the "terminal decline" of dance music to its over-commercialisation by big-name DJs, such as Sasha, and to their demands for increased fees for performances. Though dance music had been declared "dead" by many in the dance industry, Sasha continued to tour—despite the closing of many superclubs, including his resident club Twilo in May 2001.

After the closing of Twilo, Sasha and Digweed embarked on their ambitious Delta Heavy Tour of the United States in 2002. Featuring veteran tour producer Kevin Lyman and opening act Jimmy Van M, the tour covered 31 cities and played to 85,000 people. The appearances, complete with laser shows and video production, were more akin to rock concerts than to typical DJ events. This development was new to the DJing scene, and compelled other DJs to host similar concerts. A DVD of performance highlights, interviews, and behind-the-scenes footage was released as *Sasha & John Digweed present Delta Heavy* by System Recordings. Ben Turner, creator of the DanceStar awards, retrospectively described the Delta Heavy tour as "a landmark moment for electronic music". Though the duo of Sasha and Digweed never explicitly split up, demanding schedules and frequent independent touring prevented any substantial collaboration for a long period after Delta Heavy.

### Post-Digweed

During the latter half of 2002, Sasha collaborated with big beat artist Junkie XL on the single "Breezer". Junkie XL, along with Charlie May, also assisted Sasha on his second album of original material, *Airdrawndagger*. *Airdrawndagger* took several years to produce due to Sasha's desire for the album to be "as near to perfection as possible." That March, Sasha suffered a perforated eardrum in a traffic accident, further delaying the album's production. Though the accident temporarily impaired his hearing, he drew inspiration for the album from his ordeal. *Airdrawndagger* was finally released, in August 2002, to much fanfare. However, the album was "received with a lot of head scratching", according to Sasha, which he attributed to its unexpected mix of genres. The album did not feature the heavier "club sound" of Sasha's previous mix albums, bearing a closer resemblance to ambient music. *Airdrawndagger* generally received favorable reviews, though critics noted that it was not as consistent and well produced as his DJ mixes. Sasha himself described it as "a selfish, slightly self-indulgent record", though he maintains that he is "happy with it to this day". Some critics, however, called it "sleepy"; *E!Online* described it as being "more in league with Yanni than Moby". To encourage listeners' interest, Sasha held an amateur remix contest for the album's single, "Wavy Gravy". Due to the contest's success, Sasha released all the tracks from *Airdrawndagger* on his website, so that fans could download and create their own versions.

After the release of *Airdrawndagger*, Sasha took the young DJ James Zabiela "under his wing". He introduced Zabiela to the CDJ1000 turntable, and signed Zabiela to the Excession talent agency. The two toured the United States together, which extended Sasha's influence to already-popular American DJs such as Kimball Collins.

In 2004, Sasha signed with Global Underground to produce another mix album. However, he found the process of creating a standard mix album unrewarding, and decided to apply his production and DJing skills to a mix compilation that resembled a "real" album—that is, one featuring original material. Sasha's next studio album, *Involver*, was "a fusion of mix album and production record", consisting entirely of Sasha's reworkings of tracks by other artists. "I tried to take all the separate sounds to all the tracks \[and recombine them\]", he later explained, "and it allowed me to mix the tracks together on a much deeper level." He accomplished this by sequencing the album using Ableton Live and Logic Pro. Ableton Live is a music loop-based software package that Sasha uses to engineer tracks in real-time, whereas he used Logic Pro primarily for premeditated edits to audio tracks.

In 2005, Sasha produced his next mix album, *Fundacion NYC*, based on his nights DJing in New York at the Crobar club. *Fundacion NYC* received positive reviews for its originality, though *JIVE Magazine* found it "too complicated for the ear". Sasha is pleased with the album, and plans to make a series of Fundacion albums. The next year, Sasha released 10,000 copies of a June 2006 DJ set for sale using Instant Live, making him the first DJ to use Instant Live's licensing and publishing services. In August 2007, Sasha announced the formation of his record label, Emfire, which will be the exclusive outlet for his new material in both vinyl and digital formats. Its first release was "COMA", a collaborative track by a group of the same name, which features Sasha, Barry Jamieson, Charlie May, and Duncan Forbes. While continuing to regularly DJ, Sasha began work on another *Involver* mix and the next *Fundacion* mix. Sasha's *Invol2ver* was released in September 2008, and *Invol\<3r* was released in March 2013.

### Reuniting with Digweed

Though frequent performing kept them apart for several years, Sasha and Digweed announced that they would reunite for a few Australian performances. In November 2006, the duo performed at several venues, including Sydney, Brisbane, and Melbourne as well as numerous tour dates throughout 2007. In 2008, Sasha and Digweed kicked off an American tour with a performance at the Winter Music Conference. The duo played at mainly larger venues on the weekends and smaller (750–1000 people) shows on weekdays. Sasha described their music as "driving and dark" with "a little throwback of Twilo sounds".

Sasha runs a music studio and lives in New York City, and maintains a house in London. He brings his wife with him on his frequent tours. Sasha finds the constant touring to be physically tiring, though he also feels that he thrives on it. While fans may regard Sasha to be a DJ "hero", he is uneasy with fame; Sasha considers himself "shy at heart" and is typically uncomfortable discussing his personal life. He has mentioned on numerous occasions that he is so busy with DJing and production that he rarely has any free time. However, he enjoys watching football, cooking, and sampling the cuisine of the countries he visits. The movie "New Emissions of Light & Sound" won the Best Original Score at the X-Dance Film Festival. The score was made up of new and previously unreleased tracks.

Sasha and Digweed have re-united again in recent years. The iconic duo Sasha & John Digweed performed a Back to Back set at the Ministry of Sound in London on 24 March 2016. Shortly thereafter, the duo announced a list of tour dates for September 2016 to re-launch themselves in a series of gigs and performing Back to Back.

## Musical genres

Influenced by the early sound of The Haçienda, Sasha began his career playing records of the rough, danceable genre of acid house. By the early 1990s, he had moved towards a more dark European house music style, though by the time of his Shelley's residency he had begun to experiment more with American house. His tastes further developed as he moved to Renaissance, and he began to incorporate the pop-based sounds of Moby, Spooky, and Leftfield. Sasha's second Digweed collaboration, 1997's *Northern Exposure*, was described as "epic house", and subsequent releases featured the spacey and atmospheric trance house sound of artists such as Sven Väth, Matt Darey, Tilt, and Armin Van Buuren. A rhythmic and bassy progressive house influence distinguished his *Xpander EP* and the mix albums of the late 1990s. At the time, Sasha's music rotation included records by artists such as Space Manoeuvres, BT, and Breeder, and Sander Kleinenberg's single "My Lexicon".

With the 2000 album *Communicate*, the duo's work moved towards a deeper and darker house music sound. The album featured tracks by Morel, Mainline, and Jimmy Van M. The focus shifted from the melodic themes of previous releases in favour of a stronger emphasis on the bassline. The Delta Heavy Tour and *Airdrawndagger* marked a dramatic shift in style, and reflected the influences of relaxed ambient and breakbeat music on Sasha's work. These influences inspired the album's strong melodies, occasional breakbeat loops, and limited use of percussion. *Involver* was primarily a fusion of the musical style of house and ambient breakbeat music characterised by UNKLE and Lostep. With 2005's *Fundacion*, Sasha's style was mostly progressive house and electro house music, with work by James Holden, Tiefschwarz, and Swayzak. With his success in progressive house, Sasha has commented that he feels people try to "pigeon-hole" him into playing that genre. Rather than calling it progressive house, Sasha considers his most recent material to be between house, trance, and breaks, though he has stated that he prefers not to associate himself with a specific genre of music.

## Techniques and technology

Sasha attributes his success to his technical skill and ability to "connect with his dancers". During performances, he balances new and experimental material, while ensuring that "the party is still rockin'". His spontaneity carries over to studio work; he typically has only a vague idea of the track listing when beginning work on a new mix album. Because of this, his albums never turn out quite as he expects. Sasha is known for applying new music technologies to both his studio and live work. Both Sasha and Digweed used Pro Tools on Mac computers when mixing their compilation albums, and used turntables and records during live performances. For their remixes, however, they used an Atari ST—an obsolete personal computer from the early 1990s—with Notator, a music sequencer used for arranging audio tracks. For more recent albums such as *Fundacion NYC*, Sasha used Ableton Live for sequencing, partially because of Pro Tools' higher price. In live performances up to the late 1990s, Sasha performed exclusively using records. Before he started using the CDJ1000, a "turntable" used for CDs, he had his digital music specially cut to acetate records before each tour. Once he integrated CDs into his live act, Sasha operated CDJ1000s with Allen & Heath mixers and FireworX.

Sasha began DJing with Ableton Live in his live act as well, using it in tandem with turntables. Having explored its functionality, Sasha found that he could perform entirely through Ableton Live. He then co-developed the Maven controller, which he uses as a physical interface to the Live software. (DJing with a mouse alone, he has said, is "not going to look right or feel right".) *Fundacion NYC* was the first album on which he regularly used the Maven controller. During DJ sets, clubbers often believe Sasha is playing new, unheard remixes; in fact, he is often playing modifications of tracks created in Ableton. Sasha most often uses the built-in Ableton plugins, preferring their superior stability and performance over third party plugins. For the first public performance of *Involver* material, he used a PowerBook running Ableton, but has since shifted to a setup that includes an iMac G5 and Ableton Live.

The Internet has affected how Sasha obtains and uses tracks for performance. While he once hunted through record shops for new records on a regular basis, Sasha now regularly receives new tracks from producers and labels via the Internet. These tracks, which number in the hundreds each week, are edited by Sasha and others for use in his live DJ sets. He still buys hundreds of records on vinyl, which are then recorded and converted into music files prior to being edited in Ableton by his team of engineers.

In February 2013, Sasha spoke to Resident Advisor about his decision to change from using Live and the Maven controller to a combination of Native Instruments' Traktor and CDs in his DJ sets. He felt that whilst Ableton Live had developed significantly as production software, it had become less successful as a DJing tool.

## Awards and nominations

In 2005, the Grammy committee debated whether his mix compilation album, *Involver*, was eligible for nomination as Best Electronic/Dance Album. The Recording Academy decided that the album was eligible, but *Involver* did not receive a nomination. Sasha did receive a Grammy nomination for his remix of Felix da Housecat's "Watching Cars Go By", which was featured on *Involver*.

## Discography

**Studio albums**

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## InfoBox

| Sasha | |
| --- | --- |
| Sasha performing in August 2006 | |
| Background information | |
| Birth name | Alexander Paul Coe |
| Also known as |  |
| Born | (1969-09-04) 4 September 1969<br>Bangor, Wales, United Kingdom |
| Origin | Sandycroft, Flintshire, North Wales, United Kingdom |
| Genres |  |
| Occupations | * DJ * record producer |
| Years active | 1989–present |
| Labels |  |
|  | |
| Website | djsasha.com |


title: Pretty Woman – The Musical (album)

abstract: Pretty Woman – The Musical is an album by Canadian singer-songwriter Bryan Adams. It was at first a digital download studio release, released online on 4 March 2022. It was released a week prior to the album So Happy It Hurts. The album features re-recorded songs Adams and Jim Vallance wrote for the musical of the same name.

text:
# Pretty Woman – The Musical (album)

***Pretty Woman – The Musical*** is an album by Canadian singer-songwriter Bryan Adams. It was at first a digital download studio release, released online on 4 March 2022. It was released a week prior to the album *So Happy It Hurts*. The album features re-recorded songs Adams and Jim Vallance wrote for the musical of the same name.

## Background

The songs from this album were originally written for the musical adaptation of the 1990 film *Pretty Woman*. The film was produced on a budget of just $14 million, earning over $463 million in global box office receipts. Written by J. F. Lawton, and directed by Garry Marshall, the film centers around Vivian Ward a free spirited Hollywood prostitute who lives with her sarcastic wisecracking Greek American best friend and roommate Kit De Luca. Kit teaches Vivian the prostitute trade. Vivian is hired by Edward Lewis, a handsome, wealthy businessman, to be his escort for several business and social functions. Their relationship develops over the course of her week-long stay with him.

In March 2014, it was announced that a musical adaptation of the film was being developed for the stage, with original screenwriter Lawton and director Marshall attached to write the book. The following year Marshall revealed that rights had been secured. Although Marshall died in July 2016, producer Paula Wagner said that work on the musical would continue. In September 2017, it was announced that the show would receive its world premiere at the Oriental Theatre, Chicago, before an expected Broadway transfer in fall 2018.

In an interview, director Jerry Mitchell said that the score "will have the feel of late '80s-early '90s rock: That's one of the great things about Bryan Adams—it's where he lives. So you've got the rock and roll stuff, the up-tempos." A cast album was released in 2018, but Adams decided to record the songs himself as well.

A number of songs Adams and Vallance wrote for the musical ended up not being used in the show itself. However, several of them were included in subsequent Bryan Adams albums: "Please Stay" was recorded for the 2018 compilation album *Ultimate*, "I Could Get Used to This" can be found on the 2019 album *Shine a Light*, and "I've Been Looking for You" was released on the 2022 album *So Happy It Hurts*.

Bryan Adams explained the songwriting process for the musical in the Dutch newspaper *Metro*. "Writing that musical was a masterclass in songwriting, it was also a masterclass in not losing your mind, as there was so much re-writing and rejection during the process of the production. But that doesn't mean that the rejected songs haven't found a home. I love 'I've Been Looking for You', 'Please Stay', and 'I Could Get Used to This', and of course it's too bad they aren't in the musical, but that's the way the Broadway ball bounces."

## Release and promotion

At first, *Pretty Woman – The Musical* was the only Bryan Adams album not be released physically. It was only released on YouTube, Spotify, and several other streaming services in March 2022. Finally, it was physically released via BMG on May 12, 2023.

## Track listing

All tracks written by Bryan Adams and Jim Vallance and produced by Adams.

*Pretty Woman* track listing
| No. | Title | Length |
| --- | --- | --- |
| 1. | "Welcome to Hollywood" |  |
| 2. | "Anywhere but Here" |  |
| 3. | "Something About Her" |  |
| 4. | "Luckiest Girl in the World" |  |
| 5. | "Rodeo Drive" |  |
| 6. | "On a Night Like Tonight" |  |
| 7. | "Don't Forget to Dance" |  |
| 8. | "Freedom" |  |
| 9. | "You're Beautiful" |  |
| 10. | "This Is Your Life" |  |
| 11. | "Never Give Up on a Dream" |  |
| 12. | "You and I" |  |
| 13. | "I Could Get Used to This" |  |
| 14. | "You Can't Go Back" |  |
| 15. | "Long Way Home" |  |
| 16. | "Together Forever" |  |

## Personnel

### Musicians

All vocals and instruments performed by Bryan Adams, except:

* Jim Vallance – Wurlitzer electric piano (1, 16), percussion (15), percussion programming (1, 11), chorus arpeggios (12), piano (3, 11, 15), synth bass (11), keyboards (5, 10, 15)
* David Foster – synth strings (6)
* Ramon Stagnaro – Spanish guitar (6)
* Keith Scott – guitar (7)

### Production

* Produced by Bryan Adams
* Recorded and mixed by Hayden Watson
* Recorded at The Warehouse Studio (Vancouver, Canada).
* Mastered by Bob Ludwig at Gateway Mastering (Portland, Maine, US).
* Cover photography by Bryan Adams

## InfoBox

| Pretty Woman – The Musical | |
| --- | --- |
|  | |
| Studio album by Bryan Adams | |
| Released | 4 March 2022 |
| Genre | Rock |
| Producer | Bryan Adams |
| Bryan Adams chronology | |
| *Shine a Light*
(2019) ***Pretty Woman – The Musical***
(2022) *So Happy It Hurts*
(2022) | |


title: Tayfur Sökmen

abstract: Tayfur Ata Sökmen was the president of the Hatay State during its existence.

text:
# Tayfur Sökmen

**Tayfur Ata Sökmen** (1892 – 3 March 1980) was the president of the Hatay State during its existence (5 September 1938 – 23 July 1939).

## Life

He was born in Gaziantep to a Turcoman family. He graduated from the Rüştiye (high school) in Kırıkhan. During French Mandate in Hatay, he participated in opposition movement. But when he was sentenced with death penalty he escaped to Turkey. Although he was pardoned in 1926, next year he escaped to Turkey once more. In 1935 he was elected MP from Antalya Province. When Hatay was declared an independent state, Sökmen was elected as the president of the Republic. However soon Hatay merged to Turkey. In later years Sökmen was elected MP from Antalya and Hatay Province up to 1954.

According to Turkish constitution of 1961, former presidents had a seat in the Turkish Senate. Being the former president of Hatay, he became a permanent member of the Senate. However he resigned in 1975. He died in Istanbul.

## Sources

* Sökmen, Tayfur: *Hatay'ın Kurtuluşu İçin Harcanan Çabalar*, Ankara 1992, ISBN 975-16-0499-0

## InfoBox

| Tayfur Sökmen | |
| --- | --- |
| Tayfur Ata Sökmen | |
|  | |
| President of Hatay | |
| **In office**
5 September 1938 – 23 July 1939 | |
| Deputy | Abdurrahman Melek |
| Preceded by | *Office established* |
| Succeeded by | *Office abolished* (Union with Turkey) |
| Member of the Grand National Assembly | |
| **In office**
26 March 1939  2 May 1954 | |
| Constituency | Antalya (1939, 1943, 1946) Hatay (1950) |
| Permanent Member of the Turkish Senate | |
| **In office**
July 9, 1961–1975 | |
| Preceded by | Permanency created\* |
| Succeeded by | Permanency abolished\* |
|  | |
| Personal details | |
| Born | 1892
Aintab, Aleppo Vilayet, Ottoman Empire |
| Died | 3 March 1980(1980-03-03) (aged 87–88)
Istanbul, Turkey |
| Nationality | Turkish |
| Parent | Mustafa Şevki Paşa (father) |
| Relatives | Mustafa Murat Sökmenoğlu (son) |
|  | |


title: Caspar Peter Bügel

abstract: Caspar Peter Bügel was a Danish merchant and landowner. He owned Ringsted Abbey where a family mausoleum was inaugurated after his death. His wife Catharina Maria Bügel socialized with some of the leading figures of the Danish Golden Age after she became a widow in 1817.

text:
# Caspar Peter Bügel

**Caspar Peter Bügel** (4 March 1759 – 1 September 1817) was a Danish merchant and landowner. He owned Ringsted Abbey where a family mausoleum was inaugurated after his death. His wife Catharina Maria Bügel socialized with some of the leading figures of the Danish Golden Age after she became a widow in 1817.

## Early life and education

Bügel was born in Hamburg, the son of master carpenter Nicolaus Bügel (died 1783) and Anna Margarethe Bügel née Rickertsen or Richter (1721–82). He was probably trained as a merchant both in Hamburg and in Copenhagen.

## Career

He was licensed as a merchant in 1783. By this time he had already become a stakeholder in several merchant ships and over the years his trading house became one of the largest in the city. In 1798 he send six merchant ships off to the Mediterranean Sea as well as a few to East Asia, Danish West Indies, South America and the Baltic Sea.

## Property

His company, Bügel & C., was initially located on Amagertorv, then in Bag Børsen. and from the mid-1790s in Nybrogade.

In the mid-1790s, Bügel purchased the country house Bonne Esperance at Charlottenlund. He later purchased Det Knuthske Hotel in Frederiksholms Kanal which had a large garden to the rear of the building. He acquired Ringsted Abbey for 330,000 Danish rigsdaler in 1809.

## Personal life

On 21 February 1787, Bügel married Catharina Maria Adzer (29 October 1767  25 January 1845) in St. Peter's Church in Copenhagen. She was the daughter and only child of royal medallist Daniel Adzer. They had six children.

Bügel retired in 1813. He took no part in public life and showed no interest in titles nor orders. He was on a good foot with the new French diplomatic delegation who called him as"Papa Bügel". He died in 1817 and is buried at St. Peter's Church.

After her husband's death, Catharina Maria Adzer took their four daughters on a journey in Europe that lasted from1817-1819. She arrived in Rome on 18 November 1818. She became a popular member of the Danish-Norwegian community. She made friends with Bertel Thorvaldsen and her home in Rome was often the site of social gatherings. Back in Denmark, she socialized with prominent cultural figures such as Christoph Ernst Friedrich Weyse, Hans Christian Andersen, Herman Freund, Bertel Thorvaldsen and Bernhard Severin Ingemann.

## Further reading

## InfoBox

| Caspar Peter Bügel | |
| --- | --- |
| Portrait by C. A. Lorentzen | |
| Born | (1759-03-04)4 March 1759
Hamburg, Holy Roman Empire |
| Died | 1 September 1817(1817-09-01) (aged 58)
Copenhagen, Denmark |
| Nationality | Danish |
| Occupation(s) | Industrialist, merchant, ship owner, ship builder |
| Awards | Grand Cross of the Dannebrog |


title: United States Congress and citizens

abstract: United States Congress and citizens describes the relation between the public and lawmakers. Essentially, American citizens elect members of Congress every two years who have the duty to represent their interests in the national legislature of the United States. All congressional officials try to serve two distinct purposes which sometimes overlap––representing their constituents and making laws for the nation. There has been debate throughout American history about how to straddle these dual obligations of representing the wishes of citizens while at the same time trying to keep mindful of the needs of the entire nation. Often, compromise is required.

text:
# United States Congress and citizens

**United States Congress and citizens** describes the relation between the public and lawmakers. Essentially, American citizens elect members of Congress every two years who have the duty to represent their interests in the national legislature of the United States. All congressional officials try to serve two distinct purposes which sometimes overlaprepresenting their constituents (local concerns) and making laws for the nation (national concerns). There has been debate throughout American history about how to straddle these dual obligations of representing the wishes of citizens while at the same time trying to keep mindful of the needs of the entire nation. Often, compromise is required.

## Challenges of reelection

Every two years a congressperson faces reelection, and as a result there is a strong tendency for a congressperson seeking reelection to focus their publicity efforts at their home districts. Running for re-election can be a grueling process of distant travel, fund-raising, which prevents representatives from paying attention to governing, according to some critics. University of Virginia professor Larry Sabato, author of *A More Perfect Constitution*, proposed an amendment to organize primaries to prevent a "frontloaded calendar" long before the election to prevent a "race by states to the front of the primary pack," which subverts the national interest, in his view. After each ten year census, states are allocated representatives based on population, and states can choose how to draw the congressional district boundaries. A law in 1967 abolished all *at-large* elections (when representatives are chosen by voters in the entire state rather than an electoral district) except in less populous states entitled to only one Representative.

Nevertheless, congresspersons in office, or incumbents, have strong advantages over challengers. One reporter noted "nearly all incumbents raise far more (money) than do their challengers," which brings a huge advantage to incumbents. Incumbents get the majority of PAC money according to the logic that "PACs give most of their money to incumbents because they are more likely to win; incumbents win largely because PACs heavily finance them." There is consensus among political analysts that money is important for winning elections. "Election to Congress ... is therefore like getting life tenure at a university," wrote one critic. In 1986, of 469 House and Senate elections, only 12 challengers succeeded in defeating incumbents. Most challengers are at a huge disadvantage in terms of fundraising.

Advantages which incumbents enjoy over challengers, and which have been a source of criticism and controversy, are access to campaign contributions as well as gerrymandering which give incumbents an unfair advantage, according to some critics. As a result, re-election rates of members of Congress seeking repeated terms hovers around 90% according to many sources. Sometimes members of Congress are seen as a "privileged class" with cozy relations with lobbyists and free use of official resources. Academics such as Princeton's Stephen Macedo have proposed solutions to fix gerrymandering. Campaign costs have risen steadily over time. In 1971, the cost of running for congress in Utah was $70,000. Since then, campaign costs have climbed. The biggest campaign expense is television ads, although campaign staff and materials are expensive too. By 1986, the average Senate race cost $3 million; average House races cost $350,000. By 1994, the cost to run for a congressional seat was about $500,000 on average; in 2004, a decade later, the cost was significantly higher. "Largely because of the ever-increasing cost of television advertising, the average price tag for waging a winning campaign is likely to zoom past the million-dollar mark this year for the first time, analysts say," according to one report. Money plays a huge role in congressional elections. Since fundraising is vital, "members of Congress are forced to spend ever-increasing hours raising money for their re-election" and "campaign costs continue to skyrocket." Nevertheless, the Supreme Court has treated campaign contributions as a free speech issue. Some see money as a good influence in politics since it "enables candidates to communicate with voters and parties to organize efforts to get out the vote." In the 2008 election, spending for all campaigns (including presidential) approached $2 billion in early 2008. Few members retire from Congress without complaining about how much it costs to campaign for reelection. Further, after being reelected, congresspersons are more likely to attend to the needs of heavy campaign contributors than to ordinary citizens. Some political scientists speculate there is a *coattail effect* when a popular president or party position has the effect of reelecting incumbents who get dragged along to victory as if they were "riding on the president's coattails", although there is some evidence that the coattail effect is irregular and possibly has been declining since the 1950s.

To be reelected, congresspersons must advertise heavily on television; unfortunately, this almost always requires so-called negative advertising which is considered by political operatives as necessary. Critics often point to attack ads that smear an opponent's reputation or make unfounded accusations without discussing issues as being unpopular with the public. The consensus is that negative advertising is effective since "the messages tend to stick." Attack ads are prevalent in most Congressional races today. Critics charge that candidates must spend heavily to get elected and races often cost millions of dollars. In recent years, the average victor in a Senate race spent close to $7 million, and the average House victor spent over a million dollars. Some districts are so heavily Democratic or Republican that they are called a safe seat; any candidate winning the primary will almost always be elected, and don't need to spend money on advertising. When a Congressional seat becomes vacant, then both parties may spend heavily on advertising in these so-called "competitive races"; in California in 1992, only four of twenty races for House seats were considered "highly competitive".

So why is there such apathy on the part of voters, particularly towards Congress? Prominent Founding Fathers writing in the Federalist Papers believed it was "essential to liberty that the government in general should have a common interest with the people," and felt that a bond between the people and the representatives was "particularly essential." They wrote "frequent elections are unquestionably the only policy by which this dependence and sympathy can be effectually secured." In 2009, however, few Americans were familiar with leaders of Congress. Numerous reports suggest voter apathy is widespread and growing.

The percentage of Americans eligible to vote who did, in fact, vote was 63% in 1960, but has been falling since. Public opinion polls asking people if they approve of the job Congress is doing have, in the last few decades, generally been low. Approval ratings in December 2007 were 25%, meaning only 1 out of 4 Americans approved of Congress. Approval ratings from 1974 to 2009 have varied within a range from 20% to 50%, with variation, with a spike of over 84% in October 2001 after the 9/11 attacks. From 2006 to 2009, ratings have hovered in the 25% range, with a high of 37% in early 2007, and an all-time low of 14% in late 2008. Vanderbilt professor Dana D. Nelson in *Bad for Democracy* argues that all citizens seem to do, politically, is vote for president every four years, and not much else; they've abandoned politics. Apathy was lower in the 2008 election, which featured a competitive election for president. However, voter turnout in 2008 (62%) was the highest since 1968.

Why explains public attitudes towards Congress? Scholar Julian E. Zeliger suggested that the "size, messiness, virtues, and vices that make Congress so interesting also create enormous barriers to our understanding the institution ... unlike the presidency, Congress is difficult to conceptualize." And scholars Steven S. Smith, Jason M. Roberts, and Ryan J. Vander Wielen suggest that despite the criticism, "Congress is a remarkably resilient institution ... its place in the political process is not threatened ... it is rich in resources." They contend that "Congress is easy to dislike and often difficult to defend." Many challengers running for Congress run *against* Congress which is an "old form of American politics" which further undermines Congress's reputation with the public as a whole. They write:

> The rough-and-tumble world of legislating is not orderly and civil, human frailties too often taint its membership, and legislative outcomes are often frustrating and ineffective ... Still, we are not exaggerating when we say that Congress is essential to American democracy. We would not have survived as a nation without a Congress that represented the diverse interests of our society, conducted a public debate on the major issues, found compromises to resolve conflicts peacefully, and limited the power of our executive, military, and judicial institutions ... The popularity of Congress ebbs and flows with the public's confidence in government generally ... the legislative process is easy to dislikeit often generates political posturing and grandstanding, it necessarily involves compromise, and it often leaves broken promises in its trail. Also, members of Congress often appear self-serving as they pursue their political careers and represent interests and reflect values that are controversial. Scandals, even when they involve a single member, add to the public's frustration with Congress and have contributed to the institution's low ratings in opinion polls.

But political scientists believe that the large majority of today's members behave ethically.

An additional factor which confounds perceptions of Congress is that the "issues facing Congress are becoming more technical and complex," according to one source. They require expertise in areas such as science, engineering, and economics. As a result, Congress often cedes authority to experts at the executive branch, although this can enhance the executive branch's power over the details of public policy. When Congress deals with complex issues, complex unwieldy bills can result. Political scientists have noted how a prolonged period marked by narrow majorities in both chambers of Congress has affected partisanship. There is speculation that the alternating control of Congress between Democrats and Republicans will lead to greater flexibility in policies, more pragmatic choices, and greater civility within the institution, and possibly greater public support. There is hope that this will be an improvement from the partisanship of the past few decades.

## Smaller states and bigger states

When the Constitution was ratified in 1787, the ratio of the populations of large states to small states was roughly twelvetoone. The Connecticut Compromise gave every state, large and small, an equal vote in the Senate. Since each state has two senators, residents of smaller states have more clout in the Senate than residents of larger states. But since 1787, the population disparity between large and small states has grown; in 2006, for example, California had seventy times the population of Wyoming. Critics have charged that the population disparity works against residents of large states. University of Texas law professor Sanford Levinson criticizes the imbalance of power in the Senate as causing a steady redistribution of resources from *blue states to red states* and from "large states to small states." University of Kentucky professor Richard Labunski agrees that small states have an unfair advantage in the Senate, writing: "If the 26 least populated states voted as a bloc, they would control the U.S. Senate with a total of just under 17% of the country’s population." However, others argue that the Connecticut compromise was deliberately intended by the Framers to construct the Senate so that each state had equal footing not based on population, and contend that the result works well on balance.

## Congresspersons and constituents

A major aspect of the role for a Senator and a representative consists of services to his or her constituency. Members receive thousands of letters, phone calls, and e-mails, with some expressing opinion on an issue, or displeasure with a member's position or vote. Often the incoming messages are not from concerned citizens but are barrages of electronic mail and interactive video designed to pressure the congressperson and his or her staff. Constituents request assistance with particular problems or ask questions. Members of Congress want to leave a positive impression on the constituent, rather than leave them disgruntled. Thus, their offices will often be responsive, and go out of their way to help steer the citizen through the intricacies of the bureaucracy. In this role, members and their staffers act as an ombudsman at the Federal level. This unofficial job has become increasingly time-consuming, and has significantly reduced the time that members have for the preparation or inspection of bills. Providing services helps congresspersons win elections and there are reports that some congresspersons compete actively to try to convince voters that they deliver the best services. It can make a difference in close races. For example, Erika Hodell-Cotti talked about how her congressperson, Frank Wolf, sent her letters when her children got awards; the congressperson helped her brothers win admission to the West Point Military Academy. Much of what citizens want is merely help with navigating government bureaucracies. Oftentimes citizens contact member offices that do not represent them. Because resources for helping non-constituents are limited, an additional component of constituent service becomes directing citizens to their assigned representative in Congress.

An incumbent member of Congress has considerably more clout than most official ombudsmen at the state level, and in other countries, given the appointive and relatively diminutive character of such offices. As Morris Fiorina notes, the involvement of the legislative branch in the ombudsman process carries one major advantage: members of Congress exercise "control over what bureaucrats value most – higher budgets and new program authorizations." This kind of leverage over the bureaucracy is a potent tool that appointed ombudsmen lack. Accordingly, to improve on today's 435 *de facto* ombudsmen—constituent services by overworked Congressmen—congressional reforms have been proposed that would approximate the legislative leverage now exercised by Congressmen, but in an office where the intra-bureaucratic troubleshooting duties are full-time. Along these lines, some Congressmen themselves have suggested that each congressional district should elect a second U.S. Representative to handle constituent services.

One academic described the complex, intertwined relation between lawmakers and constituents as *home style*. Political scientist Lawrence Dodd suggested voters often choose a "powerful local incumbent who can assist with a desired local defense contract" rather than a reform-minded challenger who, if elected, wouldn't have much clout or power since he or she would lack seniority.

One way to categorize lawmakers is by their general motivation, according to political scientist Richard Fenno: (1) reelection—these are lawmakers who "never met a voter they didn't like" and provide excellent constituent services (2) good public policy  legislators who "burnish a reputation for policy expertise and leadership" and (3) power in the chamber  those who spend serious time along the "rail of the House floor or in the Senate cloakroom ministering to the needs of their colleagues." Famous legislator Henry Clay in the mid-19th century was described as an "issue entrepreneur" who looked for issues to serve his ambitions.

What's come to describe most congresspersons today is a need to avoid blame. One wrong decision or one damaging television image can mean defeat at the next election. Accordingly, some academics suggest there is a culture of risk avoidance as well as a need to make policy decisions behind closed-doors along with efforts to focus their publicity efforts at their home districts.


abstract: Canton Township is a township in Fillmore County, Minnesota, United States. The population was 684 at the 2000 census.

text:
# Canton Township, Fillmore County, Minnesota

**Canton Township** is a township in Fillmore County, Minnesota, United States. The population was 684 at the 2000 census.

## History

Canton Township was organized in 1858, and named after Canton, Ohio.

## Geography

According to the United States Census Bureau, the township has a total area of 35.1 square miles (91 km2), all land.

## Demographics

As of the census of 2000, there were 684 people, 184 households, and 149 families residing in the township. The population density was 19.5 inhabitants per square mile (7.5/km2). There were 205 housing units at an average density of 5.8 per square mile (2.2/km2). The racial makeup of the township was 97.51% White, 0.15% African American, 0.15% Asian, and 2.19% from two or more races. Hispanic or Latino of any race were 1.90% of the population.

There were 184 households, out of which 47.3% had children under the age of 18 living with them, 74.5% were married couples living together, 6.0% had a female householder with no husband present, and 18.5% were non-families. 15.8% of all households were made up of individuals, and 8.2% had someone living alone who was 65 years of age or older. The average household size was 3.72 and the average family size was 4.27.

In the township the population was spread out, with 43.4% under the age of 18, 10.4% from 18 to 24, 22.1% from 25 to 44, 14.8% from 45 to 64, and 9.4% who were 65 years of age or older. The median age was 22 years. For every 100 females, there were 103.0 males. For every 100 females age 18 and over, there were 102.6 males.

The median income for a household in the township was $31,429, and the median income for a family was $34,896. Males had a median income of $21,250 versus $16,250 for females. The per capita income for the township was $9,594. About 23.1% of families and 37.1% of the population were below the poverty line, including 52.7% of those under age 18 and 16.1% of those age 65 or over.

## InfoBox

| Canton Township, Minnesota | |
| --- | --- |
| Township | |
| Canton Town Hall | |
| Canton Township, MinnesotaLocation within the state of MinnesotaCanton Township, MinnesotaCanton Township, Minnesota (the United States) | |
| Coordinates: 43°32′33″N 91°55′18″W / 43.54250°N 91.92167°W / 43.54250; -91.92167 | |
| Country | United States |
| State | Minnesota |
| County | Fillmore |
| Area | |
| Total | 35.1 sq mi (90.9 km2) |
| Land | 35.1 sq mi (90.9 km2) |
| Water | 0.0 sq mi (0.0 km2) |
| Elevation | 1,286 ft (392 m) |
| Population (2000) | |
| Total | 684 |
| Density | 19.5/sq mi (7.5/km2) |
| Time zone | UTC-6 (Central (CST)) |
| Summer (DST) | UTC-5 (CDT) |
| ZIP code | 55922 |
| Area code | 507 |
| FIPS code | 27-09820 |
| GNIS feature ID | 0663747 |


title: Eskiçeltek, Uğurludağ

abstract: Eskiçeltek is a village in the Uğurludağ District of Çorum Province in Turkey. Its population is 446 (2022).

text:
# Eskiçeltek, Uğurludağ

**Eskiçeltek** is a village in the Uğurludağ District of Çorum Province in Turkey. Its population is 446 (2022).

## InfoBox

| Eskiçeltek | |
| --- | --- |
| Village | |
| EskiçeltekLocation in Turkey | |
| Coordinates: 40°33′N 34°26′E / 40.550°N 34.433°E / 40.550; 34.433 | |
| Country | Turkey |
| Province | Çorum |
| District | Uğurludağ |
| Population (2022) | 446 |
| Time zone | UTC+3 (TRT) |


title: Susan L. Feagin

abstract: Susan L. Feagin is a philosopher of art, working in the analytic tradition. She is a Past President of the American Society for Aesthetics and Visiting Research Professor (Retired) in the Department of Philosophy at Temple University. She is known primarily for her work on the role of emotions in art.

text:
# Susan L. Feagin

**Susan L. Feagin** (born 11 July 1948) is a philosopher of art, working in the analytic tradition. She is a Past President of the American Society for Aesthetics and Visiting Research Professor (Retired) in the Department of Philosophy at Temple University. She is known primarily for her work on the role of emotions in art.

## Biography

Feagin received a BA degree in Philosophy from Florida State University. She then completed both an MA and a PhD in Philosophy at the University of Wisconsin, where she worked under the supervision of Donald W. Crawford.

Before coming to Temple, she held teaching and research positions at the University of Wisconsin and University of Missouri-Kansas City. From 2003 to 2013 she was the Editor of the *Journal of Aesthetics and Art Criticism*. In 2016, she gave the Richard Wollheim Lecture at the Annual Meeting of the British Society of Aesthetics at the University of Oxford.

## Select publications


title: Brookula densilaminata

abstract: Brookula densilaminata is a species of sea snail, a marine gastropod mollusk, unassigned in the superfamily Seguenzioidea.

text:
# Brookula densilaminata

***Brookula densilaminata*** is a species of sea snail, a marine gastropod mollusk, unassigned in the superfamily Seguenzioidea.

## Distribution

The height of the shell attains 5 mm.

## Distribution

This marine species occurs off Australia.

* World Register of Marine Species
* "*Brookula densilaminata*". *Gastropods.com*. Retrieved 15 January 2019.

## InfoBox

| *Brookula densilaminata* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Mollusca |
| Class: | Gastropoda |
| Subclass: | Vetigastropoda |
| Superfamily: | Seguenzioidea |
| Family: | *incertae sedis* |
| Genus: | *Brookula* |
| Species: | ***B. densilaminata*** |
| Binomial name | |
| ***Brookula densilaminata***<br>(Verco, 1907) | |
|


title: Sasha (dog)

abstract: Sasha DM (2004–2008) was a Labrador Retriever who served as a bomb detection dog for the British Army whilst stationed in Afghanistan. Sasha and her handler, Lance Corporal Kenneth Rowe, were killed in July 2008. Sasha was awarded the Dickin Medal, also known as the animals' Victoria Cross, in 2014.

text:
# Sasha (dog)

**Sasha** DM (2004–2008) was a Labrador Retriever who served as a bomb detection dog for the British Army whilst stationed in Afghanistan. Sasha and her handler, Lance Corporal Kenneth Rowe, were killed in July 2008. Sasha was awarded the Dickin Medal, also known as the animals' Victoria Cross, in 2014.

## Military career

Sasha was originally assigned as a bomb detection search dog to Marianne Hay, who gave Sasha up as she felt that they could not work in the field together because they had become too close. Sasha was assigned to Lance Corporal Kenneth Rowe in May 2008, while Hay was given the English Springer Spaniel Leanna. Prior to deployment in Afghanistan, Sasha and Rowe were well known to the other members of the 104 Working Dog Unit, based at St George's Barracks, North Luffenham, Rutland. Sasha was particularly friendly with Treo, whose handler described Sasha as "Treo's bit of skirt" and said himself that "if there is one dog in the 104 that can rival Treo's abilities, it's her".

### Service in Afghanistan

Sasha served with the Royal Army Veterinary Corps, attached to the 2nd Battalion of the Parachute regiment in the Kandahar region, working out of the Inkerman base. The weapons Sasha found included mortars, mines, and other weapons, with one particularly large find in Garmsir. During her time in Afghanistan, she made 15 confirmed finds of either ammunition caches or hidden explosives. Sasha was well liked by the troops in the Parachute regiment, and raised morale whenever she was on patrol. She also liked to chase the feral cats that inhabited the base.

Sasha and her handler were killed during an ambush on their patrol on 24 July 2008. A sniper had shot Sasha, and although injured, the dog returned to her handler. The Taliban forces used this to locate Rowe's position and killed both dog and handler with a volley of five rocket-propelled grenades. They had been scheduled to return to the UK on the day before their deaths, but Rowe had asked to remain behind as there was no incoming dog team to take over, and he was concerned about the safety issues for his regiment.

Heyhoe and other members of the 104 returned to Camp Bastion to escort Rowe and Sasha's remains onto the C-130 Hercules transport plane when they were returned to the UK. An honour guard of the local forces in dress uniforms were also present as Rowe's coffin was carried onto the plane. Sasha's ashes were returned on the same flight in a brass shell case engraved with her name and details. It was carried by Marianne Hay, Sasha's first handler. Their remains arrived at RAF Lyneham on 29 July 2008, where a private repatriation service was held and a subsequent parade through Wootton Bassett. Rowe's family were subsequently awarded the Elizabeth Cross in his honour in 2010.

### Dickin Medal

It was announced in April 2014 that Sasha was to be posthumously awarded the PDSA Dickin Medal. The Director General of the PDSA, Jan McLoughlin said of the award "We are extremely proud to be awarding a posthumous PDSA Dickin Medal to a Military Working Dog Sasha. The award is even more poignant as we approach the centenary of World War One and are reminded of the huge debt we owe the animals who serve in times of conflict. Sasha's exceptional devotion to duty in Afghanistan saved many lives, both soldiers and civilians. This medal, recognised worldwide as the animals' Victoria Cross, honours both Sasha's unwavering service and her ultimate sacrifice."

The Dickin Medal is often referred to as the animal metaphorical equivalent of the Victoria Cross.

## InfoBox

Sasha
| Species | Dog |
| --- | --- |
| Breed | Labrador Retriever |
| Sex | Female |
| Born | c.2004 |
| Died | 24 July 2008(2008-07-24) (aged 3–4)<br>Helmand Province, Afghanistan |
| Nation from | British |
| Employer | British Army |
| Notable role | Bomb detection dog |
| Years active | 2004–2008 |
| Appearance | Yellow coat |
| Awards | Dickin Medal |


title: Priapichthys

abstract: Priapichthys is a genus of poeciliid fishes native to Costa Rica, Panama and Colombia.

text:
# Priapichthys

***Priapichthys*** is a genus of poeciliid fishes native to Costa Rica, Panama and Colombia.

## Species

There are currently seven recognized species in this genus:

## InfoBox

| *Priapichthys* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Actinopterygii |
| Order: | Cyprinodontiformes |
| Family: | Poeciliidae |
| Tribe: | Heterandriini |
| Genus: | *Priapichthys*
Regan, 1913 |
|
| Type species | |
| *Gambusia annectens*
Regan, 1907 | |
| Synonyms | |
| * *Alloheterandria* Hubbs, 1924 * *Darienichthys* Henn, 1916 * *Diphyacantha* Hubbs, 1924 * *Panamichthys* Hubbs, 1924 | |


title: David May (computer scientist)

abstract: Michael David May is a British computer scientist. He is a Professor in the Department of Computer Science at the University of Bristol and founder of XMOS Semiconductor, serving until February 2014 as the chief technology officer. May was lead architect for the transputer. As of 2017, he holds 56 patents, all in microprocessors and multi-processing.

text:
# David May (computer scientist)

**Michael David May** (born 24 February 1951) is a British computer scientist. He is a Professor in the Department of Computer Science at the University of Bristol and founder of XMOS Semiconductor, serving until February 2014 as the chief technology officer.

May was lead architect for the transputer. As of 2017, he holds 56 patents, all in microprocessors and multi-processing.

## Life and career

May was born in Holmfirth, Yorkshire, England and attended Queen Elizabeth Grammar School, Wakefield. From 1969 to 1972 he was a student at King's College, Cambridge, University of Cambridge, at first studying Mathematics and then Computer Science in the University of Cambridge Mathematical Laboratory, now the University of Cambridge Computer Laboratory.

He moved to the University of Warwick and started research in robotics. The challenges of implementing sensing and control systems led him to design and implement an early concurrent programming language, EPL, which ran on a cluster of single-board microcomputers connected by serial communication links. This early work brought him into contact with Tony Hoare and Iann Barron: one of the founders of Inmos.

When Inmos was formed in 1978, May joined to work on microcomputer architecture, becoming lead architect of the transputer and designer of the associated programming language Occam. This extended his earlier work and was also influenced by Tony Hoare, who was at the time working on CSP and acting as a consultant to Inmos.

The prototype of the transputer was called the Simple 42 and was completed in 1982. The first production transputers, the T212 and T414, followed in 1985; the T800 floating point transputer in 1987. May initiated the design of one of the first VLSI packet switches, the C104, together with the communications system of the T9000 transputer.

Working closely with Tony Hoare and the Programming Research Group at Oxford University, May introduced formal verification techniques into the design of the T800 floating point unit and the T9000 transputer. These were some of the earliest uses of formal verification in microprocessor design, involving specifications, correctness preserving transformations and model checking, giving rise to the initial version of the FDR checker developed at Oxford.

In 1995, May joined the University of Bristol as a professor of computer science. He was head of the computer science department from 1995 to 2006. He continues to be a professor at Bristol while supporting XMOS, a University spin-out he co-founded in 2005. Before XMOS, he was involved in Picochip, where he wrote the original instruction set.

May is married with three sons and lives in Bristol, United Kingdom.

## Awards and recognition

In 1990, May received an Honorary DSc from the University of Southampton, followed in 1991 by his election as a Fellow of The Royal Society and the Clifford Paterson Medal and Prize of the Institute of Physics in 1992.

In 2010, he was elected a Fellow of the Royal Academy of Engineering.

## May's law

**May's Law** states, in reference to Moore's Law:

> Software efficiency halves every 18 months, compensating Moore's Law.

## InfoBox

| ProfessorDavid MayFRS FREng | |
| --- | --- |
| Born | (1951-02-24) 24 February 1951 |
| Nationality | British |
| Alma mater | University of Cambridge |
| Known for | Transputer |
| Awards | FRS (1991)
FREng (2010)
Patterson Medal (1992) |
| **Scientific career** | |
| Institutions | University of Bristol |
|  | |
| Website | www.cs.bris.ac.uk/~dave/ |


title: Seven Karta

abstract: Seven Karta is an Ambazonian separatist militia that is part of the Ambazonia Self-Defence Council. The militia operates in Bafut, Northwest Region. It was founded by taxi operators who lost their livelihood due to the Anglophone Crisis. Its name has two meanings; "seven" refers to seven legendary men who fought against the German Empire in the Bafut Wars, while "karta" is a cloth worn by the locals. In an overnight mission on March 22, 2019, the group set up concrete walls on the Bafut-Bamenda road, in an attempt to prevent Cameroonian soldiers from moving into Bafut in vehicles. In April 2020, the Cameroonian military launched Operation Free Bafut against Seven Karta. The offensive resulted in the alleged killing of General Alhaji and General Peace Plant, as well as 13 of their fighters. The militia also lost bases, weapons and equipment. In December 2022, Cameroonian forces killed a Seven Karta commander known as "One Blood" in Bafut, and displayed his corpse in public.

text:
# Seven Karta

**Seven Karta** is an Ambazonian separatist militia that is part of the Ambazonia Self-Defence Council.

The militia operates in Bafut, Northwest Region. It was founded by taxi operators who lost their livelihood due to the Anglophone Crisis. Its name has two meanings; "seven" refers to seven legendary men who fought against the German Empire in the Bafut Wars, while "karta" is a cloth worn by the locals.

In an overnight mission on March 22, 2019, the group set up concrete walls on the Bafut-Bamenda road, in an attempt to prevent Cameroonian soldiers from moving into Bafut in vehicles.

In April 2020, the Cameroonian military launched Operation Free Bafut against Seven Karta. The offensive resulted in the alleged killing of General Alhaji and General Peace Plant, as well as 13 of their fighters. The militia also lost bases, weapons and equipment.

In December 2022, Cameroonian forces killed a Seven Karta commander known as "One Blood" in Bafut, and displayed his corpse in public.

## InfoBox

| Seven Karta | |
| --- | --- |
| Founded | 2017/2018 |
| Leadership | |
| Chief of Defence | "General Alhaji" <br>"General Peace Plant" |
| Related articles | |
| History | Anglophone Crisis |


title: 1440s in poetry

abstract: Nationality words link to articles with information on the nation's poetry or literature.

text:
# 1440s in poetry

Nationality words link to articles with information on the nation's poetry or literature (for instance, Irish or France).

## Events

## Works published

**1445:**

* *Cancionero de Baena*, the first collection of Castilian lyrics, Spain

**1449:**

* *Amoryus and Cleopes*, poem by John Metham, English adaptation of the Pyramus and Thisbe narrative from Ovid‘s Metamorphoses

## Births

Death years link to the corresponding "\[year\] in poetry" article:

**1440:**

**1441:**

**1442:**

**1443:**

**1444:**

**1445:**

**1446:**

**1447:**

**1448:**

**1449:**

## Deaths

Birth years link to the corresponding "\[year\] in poetry" article:

**1440:**

**1442:**

**1443:**

**1444:**

**1448:**

* Vidyapati, also known as Vidyapati Thakur and called *Maithil Kavi Kokil* "the poet cuckoo of Maithili", died about this year (born c. 1352), Indian, Maithili-language poet and Sanskrit writer

## InfoBox

| List of years in poetry (table) |
| --- |
|  |
| In literature 1442 1443 1444 1445 1446 1447 1448 |
| *+...* |


title: Canal Turn

abstract: The Canal Turn is a fence on Aintree Racecourse's National Course and thus is jumped during the Grand National steeplechase which is held annually at the racecourse, located near Liverpool, England. Named for the Leeds & Liverpool Canal which passes alongside the racecourse at this point, it is jumped twice during the race, as the 8th and 24th fences. The fence is notable for the sharp left turn that the runners have to take as soon as they have negotiated the fence. The turn is almost 90 degrees and it is not uncommon for jockeys to become unbalanced as they change course; unseatings and falls are common. Seven equine fatalities have been recorded at the Canal Turn in Grand Nationals since the race was first run officially in 1839; the most recent death was that of The Last Fling in 2002. The Canal Turn has been the scene of a number of incidents that have had a major impact upon the outcome of the Grand National. In 1928, the favourite and top-weight Easter Hero refused at the ditch which at the time preceded the fence. This refusal took out 20 horses. By the end of the first circuit only six horses remained in the field. By the final fence just two remained. Billy Barton fell at the last, leaving the 100/1 outsider Tipperary Tim to finish alone. Billy Barton was, however, remounted to pick up the second-place prize money. In the 2001 Grand National the riderless Paddy's Return ran in front of the field as they approached the fence. This caused a number of horses to be stopped in their tracks or brought down. In total nine horses in the field were taken out of the race at the Canal Turn, including Amberleigh House, who went on to win the National in 2004. On the final circuit Paddy's Return again ran across the fence, but this time Red Marauder, the eventual winner, and Smarty, who eventually took second, avoided the loose horse. In the 2015 Grand National the fence bypassed for the first time on the final circuit as vets treated Balthazar King, who was injured in a fall the first time round. Two Cheltenham Gold Cup winners have departed at this fence in more recent years, The Fellow, took a heavy fall on the second circuit the same year as his Cheltenham success, and Lord Windermere, unseated his rider on the first circuit in 2018.

text:
# Canal Turn

The **Canal Turn** is a fence on Aintree Racecourse's National Course and thus is jumped during the Grand National steeplechase which is held annually at the racecourse, located near Liverpool, England. Named for the Leeds & Liverpool Canal which passes alongside the racecourse at this point, it is jumped twice during the race, as the 8th and 24th fences.

The fence is notable for the sharp left turn that the runners have to take as soon as they have negotiated the fence. The turn is almost 90 degrees and it is not uncommon for jockeys to become unbalanced as they change course; unseatings and falls are common. Seven equine fatalities have been recorded at the Canal Turn in Grand Nationals since the race was first run officially in 1839; the most recent death was that of The Last Fling in 2002.

The Canal Turn has been the scene of a number of incidents that have had a major impact upon the outcome of the Grand National. In 1928, the favourite and top-weight Easter Hero refused at the ditch which at the time preceded the fence (this was filled in following the race). This refusal took out 20 horses. By the end of the first circuit only six horses remained in the field. By the final fence just two remained. Billy Barton fell at the last, leaving the 100/1 outsider Tipperary Tim to finish alone. Billy Barton was, however, remounted to pick up the second-place prize money.

In the 2001 Grand National the riderless Paddy's Return ran in front of the field as they approached the fence. This caused a number of horses to be stopped in their tracks or brought down. In total nine horses in the field were taken out of the race at the Canal Turn, including Amberleigh House, who went on to win the National in 2004. On the final circuit Paddy's Return again ran across the fence, but this time Red Marauder, the eventual winner, and Smarty, who eventually took second, avoided the loose horse.

In the 2015 Grand National the fence bypassed for the first time on the final circuit as vets treated Balthazar King, who was injured in a fall the first time round.

Two Cheltenham Gold Cup winners have departed at this fence in more recent years, The Fellow, (1994 Gold Cup winner) took a heavy fall on the second circuit the same year as his Cheltenham success, and Lord Windermere, (2014 Gold Cup winner) unseated his rider on the first circuit in 2018.

## Number of fallers

This table documents the number of runners which fell in recent Grand Nationals at the Canal Turn, including those who unseated riders or were brought down, but not those who were pulled up, carried out or refused at the fence. The 2020 running was cancelled due to the COVID-19 pandemic.

| Year | Falls | Equine fatalities |
| --- | --- | --- |
| 2024 | 0 | 0 |
| 2023 | 2 | 0 |
| 2022 | 4 | 0 |
| 2021 | 0 | 0 |
| 2019 | 0 | 0 |
| 2018 | 3 | 0 |
| 2017 | 0 | 0 |
| 2016 | 1 | 0 |
| 2015* | 2 | 0 |
| 2014 | 3 | 0 |
| 2013 | 3 | 0 |
| 2012 | 5 | 0 |
| 2011 | 1 | 0 |
| 2010 | 1 | 0 |
| 2009 | 0 | 0 |
| 2008 | 2 | 0 |
| 2007 | 3 | 0 |
| 2006 | 1 | 0 |
| 2005 | 0 | 0 |
| 2004 | 0 | 0 |
| 2003 | 1 | 0 |
| 2002 | 1 | 1 |
| 2001 | 6 | 0 |
| 2000 | 1 | 0 |
| 1999 | 0 | 0 |
| 1998 | 1 | 0 |
| 1997 | 0 | 0 |
| 1996 | 2 | 0 |
| 1995 | 0 | 0 |
| 1994 | 2 | 0 |
| 1993 | 1 | 0 |
| 1992 | 1 | 0 |
| 1991 | 0 | 0 |
| 1990 | 1 | 1 |
| 1989 | 0 | 0 |
| 1988 | 2 | 0 |

* Fence was only jumped once, on first circuit.
† 1993 race void.


title: Eskişehir, Tarsus

abstract: Eskişehir is a neighbourhood in the municipality and district of Tarsus, Mersin Province, Turkey. Its population is 82 (2022). It is situated in Çukurova. It is located about 10 kilometres (6.2 mi) away from Tarsus and 37 kilometres (23 mi) away from Mersin. The main crop of the village is grapes.

text:
# Eskişehir, Tarsus

**Eskişehir** is a neighbourhood in the municipality and district of Tarsus, Mersin Province, Turkey. Its population is 82 (2022). It is situated in Çukurova (Cilicia of the antiquity). It is located about 10 kilometres (6.2 mi) away from Tarsus and 37 kilometres (23 mi) away from Mersin. The main crop of the village is grapes.

## InfoBox

| Eskişehir | |
| --- | --- |
| Neighbourhood | |
| EskişehirLocation in Turkey | |
| Coordinates: 37°02′N 34°56′E / 37.033°N 34.933°E / 37.033; 34.933 | |
| Country | Turkey |
| Province | Mersin |
| District | Tarsus |
| Elevation | 145 m (476 ft) |
| Population (2022) | 82 |
| Time zone | UTC+3 (TRT) |
| Area code | 0324 |


title: Cyril Herbert Williams

abstract: Cyril Herbert Williams (1908-1983) was Provincial Commissioner of the Nyanza Province of Kenya (1951–56).

text:
# Cyril Herbert Williams

**Cyril Herbert Williams** CMG OBE (1908-1983) was Provincial Commissioner of the Nyanza Province of Kenya (1951–56).

## Life

Cyril Herbert Williams was born on 27 December 1908, the son of Thomas Ethelbert Williams. He was educated at Bedford Modern School and Jesus College, Cambridge. In 1929 he played for Cambridge in the Varsity Match, earning a blue, and also played for Bedford in the 1930–31 season.

Williams entered the colonial service in Kenya in 1931, later becoming Provincial Commissioner of the Nyanza Province (1951–56), a member of the Kenya Council of State (1961–64) and Chairman of Naivasha County Council (1963). He was invested as an Officer of the Order of the British Empire in 1949 and a Companion of the Order of St Michael and St George in 1956.

Williams married Patricia Joy Collyer on 15 February 1936. They had a son and twin daughters. Williams died on 27 November 1983.

1. "Williams, Cyril Herbert, (27 Dec. 1908–27 Nov. 1983)". *WHO'S WHO & WHO WAS WHO*. 2007. doi:10.1093/ww/9780199540884.013.U170436. ISBN 978-0-19-954089-1.
2. "Kenya Gazette". *google.com*. 18 August 1953. Retrieved 7 July 2015.
3. "Europeans In East Africa - Home".
4. Neil Roy, '100 Years of the Blues. The Bedfordshire Times History of Bedford RUFC', (Bedford, 1986), p. 211
5. "Genealogy, Family Trees & Family History Records at Ancestry.co.uk". *ancestry.co.uk*. Retrieved 7 July 2015.

## InfoBox

| Cyril Herbert WilliamsCMG OBE | |
| --- | --- |
|  | |
| Born | (1908-12-27)27 December 1908 |
| Died | 27 November 1983(1983-11-27) (aged 74)<br>Sussex |
| Nationality | British |
| Education | Bedford Modern School |
| Alma mater | Jesus College, Cambridge |
| Occupation | Colonial Administrator |
| Known for | Provincial Commissioner of the Nyanza Province (1951-56) |