title: Flavors of Entanglement

abstract: Flavors of Entanglement is the seventh studio album, fifth international release and last Maverick Records release by Canadian singer-songwriter Alanis Morissette. The album, which was originally set for an April release, came out on May 30, 2008, in Germany, Benelux, and Ireland, internationally on June 2, and in the United States on June 10. It was produced by Guy Sigsworth. Flavors won Pop Album of the Year prize at the 2009 Juno Awards. The album gets its name from a lyric in the track "Moratorium". Flavors of Entanglement received generally positive reviews from music critics, praising the new musical style of Morissette's album; however, critics felt the album's lyrics are not as original as Morissette's earlier albums. Charting success of the album was also moderate worldwide. The album peaked at number eight on the US Billboard 200. The album also spawned an American tour called Flavors of Entanglement Tour, which spanned September to November 2008. Morissette left Maverick Records in 2009, following completion of all promotional activities in support of the album.

text:
# Flavors of Entanglement

***Flavors of Entanglement*** is the seventh studio album, fifth international release and last Maverick Records release by Canadian singer-songwriter Alanis Morissette. The album, which was originally set for an April release, came out on May 30, 2008, in Germany, Benelux, and Ireland, internationally on June 2, and in the United States on June 10. It was produced by Guy Sigsworth. *Flavors* won Pop Album of the Year prize at the 2009 Juno Awards. The album gets its name from a lyric in the track "Moratorium".

*Flavors of Entanglement* received generally positive reviews from music critics, praising the new musical style of Morissette's album; however, critics felt the album's lyrics are not as original as Morissette's earlier albums. Charting success of the album was also moderate worldwide. The album peaked at number eight on the US *Billboard* 200. The album also spawned an American tour called Flavors of Entanglement Tour, which spanned September to November 2008.

Morissette left Maverick Records in 2009, following completion of all promotional activities in support of the album.

## Background and development

### History

In March 2005, Morissette said she was ready to begin work on a new album, explaining that she had filled four journals and usually began a new album after filling two—"I'm very pregnant with songs", she said. She mentioned her intentions for the sound of the album in a December 2005 interview to promote *The Collection*, saying she "would love to fuse the technological sonic landscapes with the more organic ones". In January 2006, *Rolling Stone* wrote that Morissette was in between "intense" writing sessions for her upcoming studio album, for which she had enlisted multiple collaborators, including Mike Elizondo, who produced her song "Wunderkind" for the soundtrack of the 2005 film *The Chronicles of Narnia: The Lion, the Witch and the Wardrobe*. Morissette described herself as "teeming with ideas" following the release of *So-Called Chaos* and stated that she had "more than enough thoughts to congeal together."

In October 2006, Morissette said in an interview with *TV Guide* that she was going to enter the studio and start writing new material over the next few weeks, saying "at the present, I have seven journals full. I have a lot within me ready to burst out." Morissette released a cover of The Black Eyed Peas' "My Humps" in April 2007, and the high quality of the recording led to speculation among fans that she was in the studio working on an album. She performed at a gig for The Nightwatchman, a.k.a. Tom Morello of Rage Against the Machine, at the Hotel Café in Los Angeles on April 24. There, she said that she and producer Guy Sigsworth had been "sequestered" in London and Los Angeles during the previous few months writing "a bevy of new songs". Accompanied by Sigsworth on piano, Morissette played a new song, "Not as We". Later, the song appeared in the third episode of the fourth season of the television series *House*, "97 Seconds", which was first aired on October 9.

In August, Sigsworth said in an interview with arbiter.co.uk that 25 songs were written for the album, 13 had been recorded, and eight more were being recorded after Morissette requested B-sides and "exclusives". Sigsworth described Morissette as "a dream to work with" and "totally into my sound world." In the same interview, guitarist and programmer Andy Page said that at one point, they were working on 12 of the tracks simultaneously, and that one contains "moshing, distorted guitars" and a "wall-of-noise" created using Guitar Rig. Page also said that he had used the graphical modular software music studio Reaktor on the album, saying of it that "I prefer using its granulators and weirder signal processors to its synths. Some of its physically modeled stuff is very cool, and there are some cool wavetable synths." An October 2007 interview with Morissette, published on the blog Holons 2.0, reported that the title of the album was *Flavors of Entanglement*, while noting that no release date had been set. The release date of the album ended up being moved five times.

### Composition

Morissette has noted an expansion of her musical sound on *Flavors of Entanglement*, and that there are "more technological aspects to it on a sonic level" than previously. She said that because of her love for dancing, the album incorporates beats and loops that enable one to, in her words, "dance your face off". She has described the album as "a combination of everything" in which she has a musical interest, including hip hop beats and organic instruments. Morissette has referred to the album as "techno-sounding but organic" and said, "I like fusion." According to *Billboard* magazine, the album "balances world\- and folk-influenced tracks against the experimental pop leanings of producer Guy Sigsworth".

According to Morissette, the album features a "nice cross-section" of "joy and levity" similar to what is featured on her 2004 album, *So-Called Chaos*, and "\[the\] kind of rock bottom, 'Holy shit, I am a broken woman' moment." She said that the album features songs about her own personal relationships, explaining that writing about them is her favourite activity "'cause it's the only thing I can really comment on with any kind of conviction or authority." The album incorporates themes involving both personal and political conflict, and Morissette explained that "Our emotions align themselves with larger symptomatic things in the world. We face a large war out there, but \[the album\] more closely reflects the war in people's living rooms... the icy silence at home, versus the big cold war." Morissette summarized the track "Moratorium" as being "essentially a song about my readiness to stop repeating bad patterns. I've kicked some of those in my life." She said of "Not as We", "You know how you can resist hitting rock bottom for a long time? That song just goes 'OK, I'm going. All the way down'". "Underneath" is about breakdowns in communication.

Musically, the album is a change from her previous music, which features pop rock and alternative rock music, but for example tracks like "On the Tequila" and "Giggling Again for No Reason", the songs feature more dance-oriented music.

## Singles

* The first single from the album was "Underneath", released in April 2008. In Canada, the song was a moderate success, peaking at No. 15.
* The second single from the album to be released in Europe was "In Praise of the Vulnerable Man", which failed to chart. No music video was made to promote its release.
* The second and final single to be released in North America was "Not as We". It failed to chart on the *Billboard* Hot 100, but did make it onto the Bubbling Under Hot 100 singles at No. 22. There was a video shot, which used the radio edit of the song.

## Promotion and touring

Morissette and Mutemath opened for the band Matchbox Twenty on their North American tour, a two-month-long excursion that began January 25, 2008, in Hollywood, Florida and ended March 18 in Las Vegas, Nevada. Morissette was confirmed to perform at all the shows except the Verona, New York venue.

In January 2008, Morissette filmed a mini-concert special for A&E, which aired May 18. On March 28, Morissette filmed an eight-song set for Sessions@AOL, an online music program produced by AOL Music. The set appeared online in May. She also appeared on the schedule for the Summer Concert Series for *The Today Show*. In early 2008, Alanis.com held a contest in which the first 200 e-mail respondents were invited to a private show for Yahoo! Music's "Live Sets" program. In June, Morissette went to Europe and did headlining shows there, then returned to North America for the continuation of her headlining tour in the Fall.

On Tuesday, June 3, 2008, MuchMusic got the rights to stream the entire album online, a full week before its North American release. Morissette performed at the Summerset Music Festival on Prince Edward Island, Canada on September 13, 2008. It was her first performance on PEI. Her North American Flavors of Entanglement Tour began on September 18, 2008, and ended on November 17, 2008. Morissette appeared on the premiere episode of Rosie Live on November 26, followed by radio station holiday concerts, according to her official website and MySpace. In early 2009, Morissette embarked on her Latin American and South American tour. In Brazil, before the show in São Paulo, she appeared on the popular TV show, *Domingão do Faustão*, and performed some of her biggest hits there, including "Ironic" and the newly released "Underneath". In the United Kingdom, she performed "Underneath" on *The Graham Norton Show*.

## Critical reception

Professional ratings
| Aggregate scores | |
| --- | --- |
| Source | Rating |
| Metacritic | 63/100 |
| Review scores | |
| Source | Rating |
| AllMusic |  |
| *Blender* |  |
| *Consequence of Sound* | C+ |
| *Entertainment Weekly* | B+ |
| *The Montreal Gazette* |  |
| *The Guardian* |  |
| *Paste* | Mixed |
| PopMatters | 6/10 |
| *Rolling Stone* |  |
| Slant Magazine |  |
| *The New Zealand Herald* |  |
| *USA Today* |  |

*Flavors of Entanglement* received generally positive reviews from music critics. Stephen Thomas Erlewine from AllMusic awarded the album three-and-a-half stars out of five. He said "filled with songs of heartbreak, anger, and regret, along with a healthy dose of self affirmation – or at least it seems that way, as Alanis' words are harder than ever to parse, a mangled web of garbled syntax, overheated metaphors, and mystifying verbal contortions all requiring too much effort to decode. In that sense, it's a lot like Jagged Little Pill, but musically this is far closer to the muddled mystic worldbeat of Supposed Former Infatuation Junkie, thanks in large part to her collaboration with Guy Sigsworth, best known for his productions with Björk and Madonna." Leah Greenblatt from *Entertainment Weekly* gave it a B+. She said "Somehow, a devastating personal experience has galvanized her songwriting in a way that domestic bliss, as showcased on 2004's disappointing *So-Called Chaos*, could not."

However, there have been more mixed reviews from music critics. Paul Schrodt from Slant Magazine gave it two-and-a-half stars out of five. He did praise the album's new musical direction, calling her the "new-age Alanis", but did say that she really hasn't changed from *Jagged Little Pill* since 1995. The Toronto Star gave the album three stars out of four. They said "The disc includes enough woman-scorned tunes to support that theory, given how the Ottawa-bred singer made her career with confessional songwriting.". Joanna Hunkin from *The New Zealand Herald* gave the album four stars out of five, saying Morissette's lyric writing was still "awkward" but that the album "is definitely Morissette's best work of this decade."

## Commercial performance

*Flavors of Entanglement* debuted at number eight on the US *Billboard* 200 selling 71,000 copies in its first week. As of March 2012, the album had sold 233,000 copies in the United States. There have also been 76,000 paid downloads of the debut single, "Underneath", while "Not as We" racked up 38,000 paid downloads.

Outside of the US, the album debuted at number one on the Swiss Albums Chart, making it Morissette's third number one album there, and stayed on the charts for 16 weeks. It debuted at number three on the Austrian Albums Chart, and stayed in the charts for 12 weeks. The album debuted at number 20 on the Belgian Albums Chart (Flanders), later peaking at number eight on its second week, and also peaked at number five on the Belgian Albums Chart (Wallonia). The album debuted at number six on the French Albums Chart, staying in the charts for 16 weeks. It also peaked at number eight in Italy, at number 36 on the Swedish Albums Chart and at number 30 on the Spanish Albums Chart.

The album debuted at number 17 on the Australian Albums Chart, falling to number 33 on its second week before dropping out of the chart. The record stayed a sole week on the New Zealand Albums Chart, peaking at number 35.

As of August 2012, the album has sold over 600,000 worldwide.

## Track listing

All lyrics are written by Alanis Morissette; all music is composed by Morissette and Guy Sigsworth

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Citizen of the Planet" | 4:22 |
| 2. | "Underneath" | 4:07 |
| 3. | "Straitjacket" | 3:08 |
| 4. | "Versions of Violence" | 3:36 |
| 5. | "Not as We" | 4:45 |
| 6. | "In Praise of the Vulnerable Man" | 4:07 |
| 7. | "Moratorium" | 5:34 |
| 8. | "Torch" | 4:49 |
| 9. | "Giggling Again for No Reason" | 3:48 |
| 10. | "Tapes" | 4:26 |
| 11. | "Incomplete" | 3:30 |

Digital bonus track
| No. | Title | Length |
| --- | --- | --- |
| 12. | "It's a Bitch to Grow Up" | 4:03 |

Japanese bonus track
| No. | Title | Length |
| --- | --- | --- |
| 12. | "20/20" | 4:17 |

Deluxe edition bonus disc
| No. | Title | Length |
| --- | --- | --- |
| 1. | "Orchid" | 4:21 |
| 2. | "The Guy Who Leaves" | 4:12 |
| 3. | "Madness" | 6:21 |
| 4. | "Limbo No More" | 5:21 |
| 5. | "On the Tequila" | 3:42 |

## Other recorded tracks

The following is a list of songs recorded during the same studio sessions that didn't make it onto the album's final track list. Morissette stated that the album would feature 11 tracks, but that the additional songs would eventually be released in other forms, such as in-store exclusives and YouTube music video releases.

1. "I Am"
2. "Wounded Leading Wounded" ^
3. "Asylum" ^^
4. "Break" ^^^
5. "Separate" ^^

^ "Wounded Leading Wounded" was written originally for 2004's *So-Called Chaos* but was abandoned. Guy Sigsworth and Morissette brought the song out again for their studio sessions.

^^ These songs have never been mentioned by Morissette or Sigsworth, but recently appeared on ASCAP's songfile database credited to Sigsworth and Morissette.

^^^ "Break" appeared as a b-side to "In Praise of the Vulnerable Man".

## Personnel

* Alanis Morissette – vocals
* Guy Sigsworth – production, engineering
* Andy Page – guitars, programming, mixing, mastering
* Sean McGhee – programming, engineering, backing vocals
* Andrei Maberley – engineering
* Ben Tolliday – engineering, assistant mastering
* Blair Sinta – drums
* Peter Freeman – bass guitar
* Fiora Cutler – string arrangement

## Charts

## Certifications

Certifications for *Flavors of Entanglement*
| Region | Certification | Certified units/sales |
| --- | --- | --- |
| Italy (FIMI) | Gold | 35,000* |
| Switzerland (IFPI Switzerland) | Gold | 15,000^ |
| * Sales figures based on certification alone.
^ Shipments figures based on certification alone.
 | | |

## InfoBox

| Flavors of Entanglement | |
| --- | --- |
|  | |
| Studio album by Alanis Morissette | |
| Released | May 30, 2008 (2008-05-30) |
| Recorded | 2007–2008 |
| Studio | The Village Recorder (Los Angeles, California)
Frou Frou Central (London) |
| Genre |  |
| Length | 46:12 |
| Label |  |
| Producer | Guy Sigsworth |
| Alanis Morissette chronology | |
| *The Collection*
(2005) ***Flavors of Entanglement***
(2008) *Havoc and Bright Lights*
(2012) | |
|  | |
| Singles from  *Flavors of Entanglement* | |
| 1. "Underneath"
Released: April 15, 2008 2. "In Praise of the Vulnerable Man"
Released: August 18, 2008 (Europe) 3. "Not as We"
Released: October 13, 2008 (US) | |
|  | |


title: Flightline (airline)

abstract: Flightline was an airline based in Southend-on-Sea, England. It operated branded wet lease, ad hoc and contract passenger and freight charter services, as well as VIP flights and aircraft sales and maintenance. Sub-services were flown for major airlines in Europe as required. Its main bases' were London Southend Airport. The company held a United Kingdom Civil Aviation Authority Type A Operating Licence, and was permitted to carry passengers, cargo and mail on aircraft with 20 or more seats. Flightline operated up to 14 flights a day between Aberdeen (ABZ) and Scatsta in the Shetland Isles (SCS) on behalf of Royal Dutch Shell and other members of the IAC. Offshore workers were flown to Scatsta Airport and then transferred onto helicopters to several oil platforms, however this contract was due to end in February 2009. Flightline also had a maintenance facility at its Southend base which provided base maintenance for the BAe-146 fleet as well as a small number of 3rd party aircraft. The engineering facility was closed in July 2008 in order to raise more funds to keep the airline running. At time of closure of the airline in December 2008, they had contracts to operate several services on behalf of British Airways out of London City Airport, and also for the Ford car company from their base at Southend to Cologne, Germany. The MD-80 fleet operated a range of holiday charter flights to the Mediterranean, Manchester being a common departure point. The MD-80 fleet were grounded at Southend in November 2008 due to the lack of business in the winter season. Upon Flightline's demise the airline had debts exceeding £6 Million.

text:
# Flightline (airline)

**Flightline** was an airline based in Southend-on-Sea, England. It operated branded wet lease, *ad hoc* and contract passenger and freight charter services, as well as VIP flights and aircraft sales and maintenance. Sub-services were flown for major airlines in Europe as required. Its main bases' were London Southend Airport.

The company held a United Kingdom Civil Aviation Authority Type A Operating Licence, and was permitted to carry passengers, cargo and mail on aircraft with 20 or more seats.

Flightline operated up to 14 flights a day between Aberdeen (ABZ) and Scatsta in the Shetland Isles (SCS) on behalf of Royal Dutch Shell and other members of the IAC (Integrated Aviation Consortium). Offshore workers were flown to Scatsta Airport and then transferred onto helicopters to several oil platforms, however this contract was due to end in February 2009.

Flightline also had a maintenance facility at its Southend base which provided base maintenance for the BAe-146 fleet as well as a small number of 3rd party aircraft. The engineering facility was closed in July 2008 in order to raise more funds to keep the airline running.

At time of closure of the airline in December 2008, they had contracts to operate several services on behalf of British Airways out of London City Airport, and also for the Ford car company from their base at Southend (near the Ford European headquarters) to Cologne, Germany. The MD-80 fleet operated a range of holiday charter flights to the Mediterranean, Manchester being a common departure point. The MD-80 fleet were grounded at Southend in November 2008 due to the lack of business in the winter season. Upon Flightline's demise the airline had debts exceeding £6 Million.

## History

The airline was established in April 1989 and started operations in 1990. Initially it had two Embraer EMB 110 Bandeirante aircraft (G-OFLT and G-FLTY) which operated mail and small parcel flights from Southend. It began jet operations in March 1992 operating on behalf of independent tour operator Palmair from Bournemouth until 1999. In November 2001 it took over the contract (previously operated by British World Airlines) between Aberdeen and Scatsta, transporting oil rig workers.

In August 2007, a Flightline plane operating from Lisbon, Portugal to Dublin, Ireland had to make an emergency go-around after the pilot mistook the lights of a local hotel for the runway and proceeded on approach towards it. The aircraft only diverted from its approach towards the 16 story hotel after being alerted to his mistake by Air Traffic Control.

The company was placed into administration on 3 December 2008.

## Destinations

### Africa

### Europe

## Fleet

The Flightline fleet consisted of the following aircraft (at July 2008):

**Flightline Fleet**
| Aircraft | Total |
| --- | --- |
| BAe 146 | 8 |
| McDonnell Douglas MD-83 | 3 |

1. "Directory: World Airlines". *Flight International*. 3 April 2007. p. 82.
2. Operating Licence Archived 11 March 2007 at the Wayback Machine
3. "Incident Report" (PDF). Archived from the original (PDF) on 16 July 2011. Retrieved 8 November 2010.
4. Tait, Jim (5 December 2008). "Eastern takes over early as Flightline goes bust". *The Shetland Times*. Retrieved 30 June 2011.
5. UK CAA Aircraft Register

## InfoBox

Flightline
|  | |
| --- | --- |
| IATA ICAO Call sign  B5 FLT FLIGHTLINE | |
| Founded | 1989 |
| Ceased operations | 3 December 2008 |
| Hubs | London Southend Airport |
| Fleet size | 11 |
| Destinations | 16 |
| Headquarters | London Southend Airport, United Kingdom |
| Key people | Alan Trotter, Gareth Evans, Kevin Callan, Phil |


title: Mark Shoots First

abstract: Mark il poliziotto spara per primo is an Italian poliziottesco film directed in 1975 by Stelvio Massi. It is the sequel of Mark il poliziotto.

text:
# Mark Shoots First

***Mark il poliziotto spara per primo*** (internationally released as ***Mark Shoots First***) is an Italian *poliziottesco* film directed in 1975 by Stelvio Massi. It is the sequel of *Mark il poliziotto*.

## Cast

## Release

*Mark Shoots First* was released theatrically in Italy on 22 December 1975 where it was distributed by P.A.C. (Produzioni Atlas Cinematografica). The film grossed ₤1.227 billion Italian lira in Italy.

### Footnotes

### Sources

* Curti, Roberto (2013). *Italian Crime Filmography, 1968-1980*. McFarland. ISBN 978-0786469765.

## InfoBox

| Mark Shoots First | |
| --- | --- |
|  | |
| Directed by | Stelvio Massi |
| Screenplay by | * Dardano Scchetti * Teodoro Corra * Raniero Di Giovanbattista * Stelvio Massi |
| Story by | Dardano Sacchetti |
| Starring |  |
| Cinematography | Federico Zanni |
| Edited by | Mauro Bonanni |
| Music by | Adriano Fabi |
| Production<br>company | P.A.C. |
| Distributed by | P.A.C. |
| Release date | * 22 December 1975 (1975-12-22) (Italy) |
| Running time | 100 minutes |
| Country | Italy |
| Box office | 1.227 billion |


title: The Return of the Crazy One

abstract: "The Return of the Crazy One" is the first single from Digital Underground's second album The Body-Hat Syndrome. It was written and produced by the D-Flow Production Squad, Digital Underground’s in-house production team.

text:
# The Return of the Crazy One

"**The Return of the Crazy One**" is the first single from Digital Underground's second album *The Body-Hat Syndrome*. It was written and produced by the D-Flow Production Squad, Digital Underground’s in-house production team.

## Charts

| Chart (1993–1994) | Peak
position |
| --- | --- |
| US Hot R&B/Hip-Hop Songs (*Billboard*) | 77 |

## InfoBox

| "The Return of the Crazy One" | |
| --- | --- |
| Single by Digital Underground | |
| from the album  *The Body-Hat Syndrome* | |
| Released | September 21, 1993 |
| Recorded | 1993 |
| Genre | Hip hop |
| Length | 4:40 |
| Label |  |
| Songwriter(s) | Gregory Jacobs |
| Producer(s) | The D-Flow Production Squad |
| Digital Underground singles chronology | |
| "I Get Around"
(1993) "**The Return of the Crazy One**"
(1993) "Wussup wit the Luv"
(1994) | |
|  | |
| Music video | |
| "The Return of the Crazy One" on YouTube | |
|  | |


title: Fleet management

abstract:
Fleet management is the management of:
  - Commercial motor vehicles such as cars, vans, trucks, specialist vehicles, forklifts, and trailers
  - Private vehicles used for work purposes
  - Aviation machinery such as aircraft
  - Ships
  - Rail cars
  - Non-powered assets such as generators, tanks, gear boxes, dumpsters, shipping containers, trailers, excavators, and other equipment that can't run on its own power. Fleet (vehicle) management can include a range of functions, such as vehicle leasing and financing, vehicle maintenance, licensing and compliance, supply chain management, accident management and subrogation, vehicle telematics, driver management, speed management, fuel management, health and safety management, and vehicle re-marketing. Fleet Management is a function which allows companies which rely on transportation in business to remove or minimize the risks associated with vehicle investment, improving efficiency, productivity and reducing their overall transportation and staff costs, providing 100% compliance with government legislation and many more. These functions can be dealt with by either an in-house fleet-management department or an outsourced fleet-management provider. The number of light duty vehicles registered in commercial fleets in Europe as of 2016 was 15 million, and 19.5 million in North America Even with these record numbers of registration, light duty vehicles represent only 62% of all fleet sales.

text:
# Fleet management

**Fleet management** is the management of:

* Commercial motor vehicles such as cars, vans, trucks, specialist vehicles (such as mobile construction machinery), forklifts, and trailers
* Private vehicles used for work purposes (the 'grey fleet')
* Aviation machinery such as aircraft (planes and helicopters)
* Ships
* Rail cars
* Non-powered assets such as generators, tanks, gear boxes, dumpsters, shipping containers, trailers, excavators, and other equipment that can't run on its own power.

Fleet (vehicle) management can include a range of functions, such as vehicle leasing and financing, vehicle maintenance, licensing and compliance, supply chain management, accident management and subrogation, vehicle telematics (tracking and diagnostics), driver management, speed management, fuel management, health and safety management, and vehicle re-marketing. Fleet Management is a function which allows companies which rely on transportation in business to remove or minimize the risks associated with vehicle investment, improving efficiency, productivity and reducing their overall transportation and staff costs, providing 100% compliance with government legislation (duty of care) and many more. These functions can be dealt with by either an in-house fleet-management department or an outsourced fleet-management provider. The number of light duty vehicles registered in commercial fleets in Europe as of 2016 was 15 million, and 19.5 million in North America Even with these record numbers of registration, light duty vehicles represent only 62% of all fleet sales.

## Overview of Fleet Management Integration

The range of functions involved in fleet management are highly interrelated and generally integrated. While some services and products can be engaged separately, an overall system that integrates the data from various functions is required for optimal performance. Vehicle tracking systems provide a number of data points regarding engine diagnostics, driving behaviors, and geo-location. But there are a multitude of other data points outside of vehicle tracking systems that significantly impact fleet performance. Fuel transaction data, maintenance repair data, individual vehicle documents such as vehicle registrations, titles, and travel permits, supply chain data including vehicle and equipment specifications, warranties, build and delivery data, and vehicle identifying data, and driver-centric data such as acceptance of fleet policies, completion of required safety training, as well as demographic data on job types, all contribute to the fleet data pool. The more specialized functions a fleet performs, the more systems and data points are involved in integration.

## Vehicle Tracking System

A key component in fleet management systems, is the vehicle tracking component. This component is usually GPS-based, but sometimes it can be based on GLONASS or a cellular triangulation platform. Once vehicle location, direction and speed are determined from the GPS components, additional tracking capabilities transmit this information to a fleet management software application. Methods for data transmission include both terrestrial and satellite. Satellite tracking communications, while more expensive, are critical if vehicle tracking is to work in remote environments without interruption. Users can see actual, real-time locations of their fleet on a map. This is often used to quickly respond on events in the field.

### Mechanical diagnostics

An advanced fleet management systems (FMS) can connect to the vehicle's onboard computer, and gather data for the user. Data such as mileage and fuel consumption are gathered into a global statistics scheme.

### Driver behavior

Highly developed fleet management and vehicle telematics systems collect a full range of data in real-time and for transport and fleet managers. By combining received data from the vehicle tracking system and the on-board computer, it is possible to form a profile for any given driver (average speed, frequency of detours, breaks, severity of manoeuvres, choice of gears, etc.). This data can be used to highlight drivers with dangerous habits and to suggest remedial training applicable to the issues, or to ensure that drivers are meeting KPIs. Fleet management apps have shown to reduce driving incidents.

### Geo-fencing

Many fleet management and vehicle telematics systems use geofencing to enhance asset security. Geofencing allows any internet-enabled device with a GPS or asset tracker application to set up a virtual boundary around a particular location using mapping technology. It also enables users to establish action triggers, such that when an asset enters or leaves the pre-defined boundaries, users receive an alert – either via text messages, emails, or push notifications.

## Fleet management software

Fleet management software enables people to accomplish a series of specific tasks in the management of any or all aspects relating to a company's fleet of vehicles. These specific tasks encompass all operations from vehicle acquisition to disposal. Software, depending on its capabilities, allows functions such as recording driver and vehicle details, the tracking of procurement costs, scheduling of maintenance and servicing tasks, import of fuel transactions, route optimization, and measuring of fleet performance via reports and charts.

## Management of ships

Fleet management also refers to the management of ships while at sea. Shipping fleet management contracts are normally given to fleet management companies that handle aspects like crewing, maintenance, and day-to-day operations. This gives the ship owner time to concentrate on cargo booking.

## Fleet security and control

Recent advances in fleet management allow for the addition of over-the-air (OTA) security and control of fleet vehicles. Fleet Security and Control includes security of the vehicle while stopped or not in operation and the ability to safely disable a vehicle while in operation. This allows the fleet manager to recover stolen or rogue vehicles while reducing the chance of lost or stolen cargo. The additional of Fleet Security and Control to a fleet management system gives a fleet card manager preventative measures to address cargo damage and loss.

### Remote vehicle disabling systems

Remote vehicle disabling systems provide users at remote locations the ability to prevent an engine from starting, prevent movement of a vehicle, and to stop or slow an operating vehicle. Remote disabling allows a dispatcher or other authorized personnel to gradually decelerate a vehicle by downshifting, limiting the throttle capability, or bleeding air from the braking system from a remote location. Some of these systems provide advance notification to the driver that the vehicle disabling is about to occur. After stopping a vehicle, some systems will lock the vehicle's brakes or will not allow the vehicle's engine to be restarted within a certain time-frame.

Remote disabling systems can also be integrated into a remote panic and emergency notification system. In an emergency, a driver can send an emergency alert by pressing a panic button on the dashboard, or by using a key-fob panic button if the driver is within close proximity of the truck. Then, the carrier or other approved organization can be remotely alerted to allow a dispatcher or other authorized personnel to evaluate the situation, communicate with the driver, and/or potentially disable the vehicle.

## Fleet replacement and lifecycle management

The timely replacement of vehicles and equipment is a process that requires the ability to predict asset lifecycles based on costing information, utilization, and asset age. Organizations prefer to use new fleet as a strategy for cost reduction where the used fleet is sold so that a new fleet is maintained.

Funding requirements are also an issue, because many organizations, especially government, purchase vehicles with cash. The ad hoc nature and traditional low funding levels with cash has put many operations in an aged fleet. This lack of adequate funding for replacement can also result in higher maintenance costs due to aged vehicles.

## Duty of care

In the UK, in April 2008, the Corporate Manslaughter Act was strengthened to target company directors as well as their drivers in cases of road deaths involving vehicles used on business. The Police have said they now treat every road death as ‘an unlawful killing’ and have the power to seize company records and computers during their investigations. They will bring prosecutions against company directors who fail to provide clear policies and guidance for their employees driving at work. Unfortunately, in the UK a number of businesses are failing to meet their duty of care. In particular prosecutions can be brought against company directors for failing to meet their duty of care and allowing HGV driver hours to exceed the legal limits. Failure to comply with EU rules can result in a fixed penalty of up to £300, a graduated deposit of up to £1500 or you could be summoned to court. Directors and business owners may not be aware that privately owned vehicles used for business journeys are treated exactly the same as company owned vehicles. Directors have an equal responsibility under the law to ensure these vehicles are also roadworthy and correctly insured. It is vital that every company has a ‘Driving at Work’ policy in place covering every element of their business vehicle operation, no matter how few vehicles are involved and who owns them. Every employee driving for business is required to sign up to the policy. In this way, the directors can reduce the risk of being prosecuted and a possible custodial sentence.


title: The Sanctuary (community)

abstract: The Sanctuary, near Storrington in West Sussex, England, was a utopian community which was founded in 1923 and lasted about a decade.

text:
# The Sanctuary (community)

The **Sanctuary**, near Storrington in West Sussex, England, was a utopian community which was founded in 1923 and lasted about a decade.

## Founding and concept

The founder and central figure of The Sanctuary community was Vera Pragnell (1897-1968), the daughter of a textile manufacturer. Using her inheritance, she purchased 50 acres of land at Heath Common and proceeded to give away plots of land free of charge to anyone who was willing to settle there. She lived in a house she named Sanctuary Cottage, part of which was kept open for any passing stranger who needed shelter or refreshment...

Vera Pragnell was inspired both by Christianity (in particular William E. Orchard and the Fellowship of Reconciliation) as well as the principles of pioneering socialist Edward Carpenter. She imposed no conditions or rules on prospective settlers and insisted that The Sanctuary was open to everyone. Initially, all who came to live there were given a half-acre plot on which they would park a caravan or build a simple house. Eventually communal facilities were created such as a shop, a school and a building used for theatre and dancing.

Lacking a single political or spiritual focus, The Sanctuary attracted a wide range of individuals as residents or visitors, often with unorthodox and radical views. These included pagans such as the occultist, poet and publisher Victor Neuburg and Dion Byngham, ex-leading light of the Order of Woodcraft Chivalry. Other residents included anarchist W. C. Owen as well as Communist Party members. Artists were also attracted to the community, such as the landscape artist William Heaton Cooper and the Shakespearean actor Wilfred Walter.

A number of the residents and visitors were friends and associates of Edward Carpenter, who was a supporter and inspiration to the community. In 1928, Vera Pragnell published her book "The Story of the Sanctuary" and dedicated it to the "splendid pioneer" Edward Carpenter with a poem by Victor Neuburg praising Carpenter as "our Youth's doyen". Vera had a personal connection with Carpenter, as in 1927 she had married the painter Dennis Earle, who had previously been known as Ted Earle when he was Carpenter's lover

## Decline

The unconventional lifestyles of some members of the community began to generate scandal in the popular press, with stories featuring nudism and 'free love' and allegations that they encouraged a girl to run away from home and live at the Sanctuary

By the early 1930s, Vera Pragnell's original inspiration had been lost amid disputes and disillusionment. Sanctuary residents began to register formal ownership of their own properties and from 1934 onwards the area was developed by Earle as a residential estate known as Longbury Hill.

During World War II, the Kenyan independence leader Jomo Kenyatta lived in the area whilst working on a local farm. Communist Party youth camps continued to be held there until the 1960s.

## Legacy

Today, the history of the area is remembered in the street names Vera's Walk and Sanctuary Lane and the houses known as Sanctuary Cottages. A memorial shelter remains, erected and decorated by Dennis Earle, containing boards telling the story of The Sanctuary.

The area known as The Sanctuary was located in the parish of Washington, West Sussex (not Storrington). Vera Pragnell and Dennis Earle are buried in the graveyard at Washington Parish Church.

A play entitled Sanctuary, featuring Vera Pragnell and Victor Neuburg, written by Chris Green, was presented at the 2012 Brighton Fringe Festival.

50°55′2.27″N 0°25′12.48″W / 50.9172972°N 0.4201333°W / 50.9172972; -0.4201333


title: Marissa King

abstract: Marissa Petra King is an English gymnast who represented Great Britain at the 2008 Summer Olympics in Beijing, China, as well as the 2007 and 2009 World Artistic Gymnastics Championships. Marissa is the daughter of a British father and Thai mother and began gymnastics at age 8. During her elite career she trained at the Huntingdon Olympic Gymnastics Club and competed for the University of Florida Gators NCAA gymnastics team. In 2011, she became the NCAA National Champion on vault with a score of 9.875 as well as being an 11-time All American.

text:
# Marissa King

**Marissa Petra King** (born 20 April 1991) is an English gymnast who represented Great Britain at the 2008 Summer Olympics in Beijing, China, as well as the 2007 and 2009 World Artistic Gymnastics Championships. Marissa is the daughter of a British father and Thai mother and began gymnastics at age 8. During her elite career she trained at the Huntingdon Olympic Gymnastics Club and competed for the University of Florida Gators NCAA gymnastics team. In 2011, she became the NCAA National Champion on vault with a score of 9.875 as well as being an 11-time All American.

## Elite career history

| Year | Competition Description | Location | Apparatus | Rank-Final | Score-Final | Rank-Qualifying | Score-Qualifying |
| --- | --- | --- | --- | --- | --- | --- | --- |
| 2010 | British Championships | Guildford, England | Vault | 2 | 13.775 | 2 | 14.450 |
| | | | Floor | 8 | 12.050 | 3= | 14.200 |
| 2009 | British Championships | Guildford, England | All Around | 3 | 53.100 |  |  |
| | | | Vault | 1 | 13.925 |  |  |
| | | | Bars | 3 | 13.400 |  |  |
| | | | Beam | 4 | 12.700 |  |  |
| | | | Floor | 3 | 13.450 |  |  |
| | Stuttgart World Cup | Stuttgart, Germany | Vault | 4 | 13.550 | 2 | 13.800 |
| | World Championships | London, England | Vault |  |  |  | 13.850 |
| | | Beam |  |  |  | 13.400 |
| 2008 | British Championships | Guildford, England | All Around | 6 | 55.100 |  |  |
| | | | Vault | 2 | 14.175 |  |  |
| | | | Bars | 7 | 12.800 |  |  |
| | | | Floor | 7 | 13.300 |  |  |
| | European Championships | Clermont-Ferrand, France | Vault |  |  | 10 | 14.050 |
| | | Beam |  |  | 19 | 14.450 |
| | | Floor |  |  | 34 | 13.700 |
| | Glasgow Grand Prix | Glasgow, Scotland | Vault | 6 | 12.912 | 4 | 13.675 |
| | | Beam | 2 | 14.475 | 2 | 14.650 |
| | Maribor World Cup | Maribor, Slovenia | Vault | 2 | 14.075 |  |  |
| 2007 | Glasgow Grand Prix | Glasgow, Scotland | Vault | 1 | 14.237 | 2 | 13.862 |
| | Good Luck Beijing (Olympic Test Event) | Beijing, China | All Around | 8 | 56.225 |  |  |
| | | Vault | 3 | 14.187 |  |  |
| | European Championships | Amsterdam, Netherlands | Vault | 6 | 14.175 | 7 | 14.100 |
| | | Beam |  |  | 56 | 12.775 |
| | | Floor |  |  | 29 | 13.750 |
| | World Championships | Stuttgart, Germany | Team | 7 | 169.175 | 6 | 233.025 |
| | | Vault |  |  | 17 | 13.600 |
| | | Floor |  |  | 46 | 13.925 |
| | DTB Cup |  | Vault | 4 | 14.237 | 8 | 13.450 |
| | | Floor | 6 | 13.650 | 4 | 13.575 |

## NCAA career history

| Competition | Apparatus | Year | Rank-Final | Score-Final | Rank-Qualifying | Score-Qualifying |
| --- | --- | --- | --- | --- | --- | --- |
| NCAA Championships | Vault | 2011 | 1 | 9.875 | - | - |
| | Team | 2013 | 1 | 197.575 | 1st | - |
| | Beam | 2013 | 7th |  |

## InfoBox

| Marissa King | |
| --- | --- |
| Full name | Marissa Petra King |
| Nickname(s) | Riss |
| Country represented | United Kingdom
England |
| Born | (1991-04-20) 20 April 1991
Cambridge |
| Hometown | Cambridge |
| Height | 154 cm (5 ft 1 in) |
| Discipline | Women's artistic gymnastics |
| Level | Senior International Elite |
| Club | Huntingdon |
| College team | University of Florida (2009-2013) |
| Head coach(es) | Rhonda Faehn |
| Assistant coach(es) | Adrian Burde, Robert Ladanyi |
| Music | Akordeon Latino (2012), Don't Cry For Me Argentina (2008) |
| Retired | 2013 |


title: The Scent of Crash and Burn

abstract: The Scent of Crash and Burn is an EP by Centrozoon, featuring No-Man singer Tim Bowness as a guest vocalist; the first in a series of releases by this trio configuration which included both CD and vinyl albums, digital-releases, as well as a DVD. Selected tracks from The Scent of Crash and Burn were reworked for subsequent releases. For example, the title track was edited by co-producer Lee Fletcher for inclusion on the follow-up album Never Trust the Way You Are.

text:
# The Scent of Crash and Burn

***The Scent of Crash and Burn*** is an EP by Centrozoon (Markus Reuter and Bernhard Wöstheinrich), featuring No-Man singer Tim Bowness as a guest vocalist; the first in a series of releases by this trio configuration which included both CD and vinyl albums, digital-releases, as well as a DVD.

Selected tracks from *The Scent of Crash and Burn* were reworked (either as remixes or edits) for subsequent releases. For example, the title track was edited by co-producer Lee Fletcher for inclusion on the follow-up album *Never Trust the Way You Are*.

## Track listing

All songs written by Bowness/Reuter/Wöstheinrich

1. "Ten Versions of America" (TRG Radio Edit)
2. "Make Me Forget You"
3. "The Me I Knew"
4. "The Scent of Crash and Burn"
5. "Ten Versions of America"

## Personnel

## Production

## Design

## InfoBox

| The Scent Of Crash And Burn | |
| --- | --- |
|  | |
| EP by Centrozoon (featuring Tim Bowness) | |
| Released | 2003 |
| Recorded | 2002–2003 |
| Genre | Experimental, Electronica |
| Label | Burning Shed |
| Producer | Lee Fletcher, and Centrozoon |


title: The Scarlet Opera

abstract: The Scarlet Opera, originally formed as Perta, is an American rock band from Los Angeles, California. Its members include Luka Bazulka, Colin Kenrick (Pianist), Daniel Zuker (Bassist), Justin Siegal (Drummer), and Chance Taylor (Guitarist).

text:
# The Scarlet Opera

**The Scarlet Opera**, originally formed as **Perta**, is an American rock band from Los Angeles, California. Its members include Luka Bazulka (Lead Vocalist), Colin Kenrick (Pianist), Daniel Zuker (Bassist), Justin Siegal (Drummer), and Chance Taylor (Guitarist).

## History

### Perta (2016–2022)

In 2016, Colin Kenrick met fellow CalArts alum Luka (né Matthew) Bazulka at a warehouse party in Los Angeles. After hearing the vocalist perform a solo set, Kenrick decided to form a band around Bazulka's story and voice. He brought along longtime friends Daniel Zuker, Justin Siegal, and Chance Taylor to round out their newly formed music group. Soon they became inseparable, taking camping trips and working on music in Kenrick's childhood bedroom in Calabasas. The band later moved to Sherman Oaks and began using Kenrick's kitchen as their new performance space. The band's sound drew from the bandmate's theatrical backgrounds, innate musical proficiency, and a variety of influences which range from rock bands such as Guns N' Roses to funk-pop artists such as Prince. The group formed under the name "Perta" which derived from one of Bazulka's favorite plays, *Birdy—*based on William Wharton's novel and adapted by Naomi Wallace—in which the main character befriends a bird named Perta. He stated one of the play's lines resonated with him in which Perta tells the protagonist to "forget this nonsense about 'being a boy.'" As Bazulka felt he has always blurred the line between masculine and feminine, the play, and thus the band's name, reminded him "of being that boy and giving \[himself\] that advice of choosing to exist in happiness."

In 2018, under representation by WME, the band released their single "From Fire" and caught the attention of *Paper* magazine and Alec Baldwin, who interviewed Bazulka and Kenrick on his podcast *Here's the Thing*.

### The Scarlet Opera (2022–present)

After a brief hiatus, the band reinvented itself in 2022 as "The Scarlet Opera." The name derives itself from Nathaniel Hawthorne's *The Scarlet Letter*. According to the band, it stands for the misunderstood and the misrepresented. "The music, the shows, the glamour are all devoted to the outcasts, to the sexually liberated, to those who don’t come from wealth, to those who are divine."

The band signed with Republic Records and released their first single, "The Place to Be," on September 16, 2022. On January 20, 2023, The Scarlet Opera released their second single, "Big City Thing." They then made their television debut on *The Late Late Show with James Corden* in March 2023, performing their song "Alive." Shortly after, the band released their first EP, *Comedy*.

## Discography

### Releases as Perta

#### Singles

* "From Fire" (2018)

### Releases as The Scarlet Opera

#### Singles

* "The Place to Be" (2022)
* "Big City Thing" (2023)
* "Alive" (2023)
* "That Kind of Woman" (2023)
* "Catch Me If You Can" (2024)
* "Someone’s Gotta Love ‘Em" (2024)
* "Heaven Is A Place On Earth" (2024)

#### EPs

* *Comedy* (2023)
* *Mirror, Mirror* (2024)

## InfoBox

| The Scarlet Opera | |
| --- | --- |
| The Scarlet Opera performing in 2023 | |
| Background information | |
| Also known as | Perta (2016–2022) |
| Origin | Los Angeles, California |
| Years active | 2016–present |
| Labels | Republic Records |
|  | |
| Members | * Luka Bazulka (Vocals) * Colin Kenrick (Keyboard) * Daniel Zuker (Bass) * Justin Siegal (Drums) * Chance Taylor (Guitar) |
|  | |
| Website | thescarletopera.com |


title: The Return of the Wayfaring Stranger

abstract: The Return of the Wayfaring Stranger is a 78-rpm set consisting of four 10-inch discs. Released in 1949, the album was concurrently presented as a 10-inch LP, assigned the catalog number CL-6058. On February 28, 1955, Columbia expanded to 12 inches The Wayfaring Stranger, a Burl Ives album dating back to 1941, originally containing twelve tunes and initially called Okeh Presents the Wayfaring Stranger. Included in the 1955 collection were all nine songs from The Return of the Wayfaring Stranger. In August 1960, Columbia, using a slightly shortened title, Return of the Wayfaring Stranger, released a 12-inch LP of 13 different selections recorded by Burl Ives between 1949 and 1951. The 12-inch versions of The Wayfaring Stranger and Return of the Wayfaring Stranger were transferred to CD format by Collectables Records on November 14, 2000. Each disc contains bonus tracks. Currently, both CDs are in print.

text:
# The Return of the Wayfaring Stranger

***The Return of the Wayfaring Stranger*** (Columbia Records C-186) is a 78-rpm set consisting of four 10-inch discs. Released in 1949, the album was concurrently presented as a 10-inch LP, assigned the catalog number CL-6058. On February 28, 1955, Columbia expanded to 12 inches *The Wayfaring Stranger* (monaural catalog number: CL 628; 1964 simulated-stereo catalog number: CS 9041), a Burl Ives album dating back to 1941, originally containing twelve tunes and initially called *Okeh Presents the Wayfaring Stranger*. Included in the 1955 collection were all nine songs from *The Return of the Wayfaring Stranger*. In August 1960, Columbia, using a slightly shortened title, *Return of the Wayfaring Stranger*, released a 12-inch LP of 13 different selections recorded by Burl Ives between 1949 and 1951. The 12-inch versions of *The Wayfaring Stranger* and *Return of the Wayfaring Stranger* were transferred to CD format by Collectables Records on November 14, 2000. Each disc contains bonus tracks. Currently, both CDs are in print.

## Track listing

*The Return of the Wayfaring Stranger* record 1 track listing
| Side | Track | Song Title |
| --- | --- | --- |
| 1. | 1. | On Springfield Mountain |
| 2. | 1. | Little Mohee |
|

*The Return of the Wayfaring Stranger* record 2 track listing
| Side | Track | Song Title |
| --- | --- | --- |
| 1. | 1. | Troubador Song |
| 2. | 1. | Lord Randall |
|

*The Return of the Wayfaring Stranger* record 3 track listing
| Side | Track | Song Title |
| --- | --- | --- |
| 1. | 1. | Bonnie Wee Lassie |
| 2. | 1. | Colorado Trail |
| 2. | 2. | Roving Gambler |
|

*The Return of the Wayfaring Stranger* record 4 track listing
| Side | Track | Song Title |
| --- | --- | --- |
| 1. | 1. | John Hardy |
| 2. | 1. | The Divil and the Farmer |
|

## InfoBox

| The Return of the Wayfaring Stranger | |
| --- | --- |
|  | |
| Studio album by Burl Ives | |
| Released | 1949 |
| Genre | Folk |
| Label | Columbia |


title: Mark Cox (cricketer)

abstract: Mark Cox (1879-1968) was an English cricketer active from 1899 to 1919 who played for Northamptonshire (Northants). He appeared in 75 first-class matches as a left handed batsman who bowled right arm medium pace. Cox was born in Northampton on 10 May 1879 and died there on 18 December 1968. He scored 1,808 runs with a highest score of 78 and took 25 wickets with a best performance of three for 22. His sons were Arthur Cox and Mark Cox junior who also played for Northants.

text:
# Mark Cox (cricketer)

**Mark Cox** (1879-1968) was an English cricketer active from 1899 to 1919 who played for Northamptonshire (Northants). He appeared in 75 first-class matches as a left handed batsman who bowled right arm medium pace. Cox was born in Northampton on 10 May 1879 and died there on 18 December 1968. He scored 1,808 runs with a highest score of 78 and took 25 wickets with a best performance of three for 22. His sons were Arthur Cox and Mark Cox junior who also played for Northants.


title: Flor

abstract: Flor in winemaking, is a film of yeast on the surface of wine, important in the manufacture of some styles of sherry. The flor is formed naturally under certain winemaking conditions, from indigenous yeasts found in the region of Andalucía in southern Spain. Normally in winemaking, it is essential to keep young wines away from exposure to air by sealing them in airtight barrels, to avoid contamination by bacteria and yeasts that tend to spoil it. However, in the manufacture of sherries, the slightly porous oak barrels are deliberately filled only about five-sixths full with the young wine, leaving "the space of two fists" empty to allow the flor yeast to take form and the bung is not completely sealed. The flor favors cooler climates and higher humidity, so the sherries produced in the coastal Sanlúcar de Barrameda and El Puerto de Santa María have a thicker cap of flor than those produced inland in Jerez. The yeast gives the resulting sherry its distinctive fresh taste, with residual flavors of fresh bread. Depending on the development of the wine, it may be aged entirely under the veil of flor to produce a fino or manzanilla sherry, or it may be fortified to limit the growth of flor and undergo oxidative aging to produce an amontillado or oloroso sherry. During the fermentation phase of sherry production, the flor yeast works anaerobically, converting sugar into ethanol. When all the sugar has been consumed, the physiology of the yeast changes to where it begins an aerobic process of breaking down and converting the acids into other compounds such as acetaldehyde. A waxy coating appears on the cells' exterior, causing the yeast to float to the surface and form a protective "blanket" thick enough to shield the wine from oxygen. This process drastically lowers the acidity of the wine and makes sherry one of the most aldehydic wines in the world. Studies have shown that for the flor to thrive, the wine must stay in a narrow alcohol range of 14.5% to 16% ABV. Below 14.5% the yeast will not form its protective cap, and so the wine will oxidize to the point of becoming vinegar. Above 16% the flor cannot survive, and so the wine essentially becomes an oloroso.

text:
# Flor

**Flor** (Spanish and Portuguese for *flower*) in winemaking, is a film of yeast on the surface of wine, important in the manufacture of some styles of sherry. The flor is formed naturally under certain winemaking conditions, from indigenous yeasts found in the region of Andalucía in southern Spain. Normally in winemaking, it is essential to keep young wines away from exposure to air by sealing them in airtight barrels, to avoid contamination by bacteria and yeasts that tend to spoil it. However, in the manufacture of sherries, the slightly porous oak barrels are deliberately filled only about five-sixths full with the young wine, leaving "the space of two fists" empty to allow the flor yeast to take form and the bung is not completely sealed. The flor favors cooler climates and higher humidity, so the sherries produced in the coastal Sanlúcar de Barrameda and El Puerto de Santa María have a thicker cap of flor than those produced inland in Jerez. The yeast gives the resulting sherry its distinctive fresh taste, with residual flavors of fresh bread. Depending on the development of the wine, it may be aged entirely under the veil of flor to produce a fino or manzanilla sherry, or it may be fortified to limit the growth of flor and undergo oxidative aging to produce an amontillado or oloroso sherry.

During the fermentation phase of sherry production, the flor yeast works anaerobically, converting sugar into ethanol. When all the sugar has been consumed, the physiology of the yeast changes to where it begins an aerobic process of breaking down and converting the acids into other compounds such as acetaldehyde. A waxy coating appears on the cells' exterior, causing the yeast to float to the surface and form a protective "blanket" thick enough to shield the wine from oxygen. This process drastically lowers the acidity of the wine and makes sherry one of the most aldehydic wines in the world. Studies have shown that for the flor to thrive, the wine must stay in a narrow alcohol range of 14.5% to 16% ABV. Below 14.5% the yeast will not form its protective cap, and so the wine will oxidize to the point of becoming vinegar. Above 16% the flor cannot survive, and so the wine essentially becomes an oloroso.

## Other regions

A film of yeast similar to flor is also used in the production of vin jaune in the Jura wine region in eastern France. The French term used for this yeast film is *voile*, meaning "veil".

A similar yeast to flor is used in the production of *Szamorodni szaraz* in the Tokaj wine region in northeastern Hungary and southeastern Slovakia. The Hungarian name for this yeast is *hártya* which means *film*.

Natural yeast film was traditionally used in Gose beer to seal bottles, instead of caps or corks.

Flor is also present in Vernaccia di Oristano D.O.C. a wine from the italian region of Sardinia and Malvasia di Bosa.


title: Fleet Cup

abstract: The Fleet Cup was a football competition in Turkey. It was played in 1982 and between 1986. Fenerbahçe holds the record for most trophies in this competition with four titles to its name.

text:
# Fleet Cup

The **Fleet Cup** (Turkish: *Donanma Kupası*) was a football competition in Turkey. It was played in 1982 and between 1986. Fenerbahçe holds the record for most trophies in this competition with four titles to its name.

## Champions

| Year | Champion |
| --- | --- |
| 1982 | Fenerbahçe |
| 1983 | Fenerbahçe |
| 1984 | Fenerbahçe |
| 1985 | Fenerbahçe |
| 1986 | Beşiktaş |

## Titles

| Club | Titles |
| --- | --- |
| Fenerbahçe | 4 |
| Beşiktaş | 1 |
|

## InfoBox

Donanma Kupası
| Founded | 1982 |
| --- | --- |
| Abolished | 1986 |
| Region | Turkey |
| Last champions | Beşiktaş
(1st title) |
| Most successful club(s) | Fenerbahçe
(4 titles) |


title: Flers-lez-Lille

abstract: Flers-lez-Lille is a former commune in the Nord department in northern France, merged into Villeneuve-d'Ascq in 1970.

text:
# Flers-lez-Lille

**Flers-lez-Lille** (French pronunciation: \[flɛʁs le lil\], literally *Flers near Lille*) is a former commune in the Nord department in northern France, merged into Villeneuve-d'Ascq in 1970.

## Heraldry

|  | The arms of Flers-lez-Lille are blazoned :
*Gules, a chief chequy argent and azure.*

 |
| --- | --- |

1. Modifications aux circonscriptions territoriales des communes., *Journal officiel de la République française* n° 0070, 24 March 1970, p. 2793.

50°38′N 3°08′E / 50.633°N 3.133°E / 50.633; 3.133


title: The Princess (golf)

abstract: The Princess was a golf tournament on the Challenge Tour, played in Sweden, from 2009 to 2011.

text:
# The Princess (golf)

**The Princess** was a golf tournament on the Challenge Tour, played in Sweden, from 2009 to 2011.

## Winners

| Year | Winner | Score | To par | Margin of
victory | Runner(s)-up | Venue |
| --- | --- | --- | --- | --- | --- | --- |
| 2011 | Ricardo Santos | 272 | −16 | 3 strokes | Daniel Brooks | PGA Sweden National |
| 2010 | Thorbjørn Olesen | 270 | −14 | 2 strokes | Peter Gustafsson
Bernd Wiesberger | Båstad |
| 2009 | Andrew Butterfield | 271 | −13 | 1 stroke | Richard McEvoy
Carlos Rodiles | Båstad |

## InfoBox

The Princess
| Tournament information | |
| --- | --- |
| Location | Malmö, Sweden |
| Established | 2009 |
| Course(s) | PGA Sweden National |
| Par | 72 |
| Length | 7,417 yards (6,782 m) |
| Tour(s) | Challenge Tour |
| Format | Stroke play |
| Prize fund | 200,000 |
| Month played | June/July |
| Final year | 2011 |
| Tournament record score | |
| Aggregate | 270 Thorbjørn Olesen (2010) |
| To par | −16 Ricardo Santos (2011) |
| Final champion | |
| Ricardo Santos | |
| Location map | |
| PGA Sweden NationalLocation in Sweden | |


title: The Scarlet Sword

abstract: The Scarlet Sword is an English novel by H. E. Bates published in 1950. The novel was serialised in John Bull from 19 August to 7 October 1950. Like other partition novels, the narrative deals with the battle between India and Pakistan over Kashmir, especially the historical event of the sacking of St. Joseph's Convent in Baramulla, Jammu and Kashmir, transpiring in the latter part of October 1947. This incident was carried out by a group of pro-Pakistan Afridi and Pathan tribal soldiers. The novel includes a diverse ensemble of characters, encompassing two clergy members, a journalist, a Hindu dancer, a retired Colonel and his spouse, a youthful Englishwoman along with her mother, a nurse, tribal soldiers, and a multitude of individuals representing different facets of religious, medical, and military backgrounds.

text:
# The Scarlet Sword

***The Scarlet Sword*** is an English novel by H. E. Bates published in 1950. The novel was serialised in *John Bull* from 19 August to 7 October 1950. Like other partition novels, the narrative deals with the battle between India and Pakistan over Kashmir, especially the historical event of the sacking of St. Joseph's Convent in Baramulla, Jammu and Kashmir, transpiring in the latter part of October 1947. This incident was carried out by a group of pro-Pakistan Afridi and Pathan tribal soldiers. The novel includes a diverse ensemble of characters, encompassing two clergy members, a journalist, a Hindu dancer, a retired Colonel and his spouse, a youthful Englishwoman along with her mother, a nurse, tribal soldiers, and a multitude of individuals representing different facets of religious, medical, and military backgrounds.

## Synopsis

According to Andrew Whitehead in his *A Mission in Kashmir (2007),* the novel was inspired by Sydney Smith's report on Kashmir Incident in *The Daily Voyage.* The narrative concerns the fate of a modest community in the tumultuous onset of conflict lasting ten days, during which both Hindu residents and British individuals sought sanctuary within the confines of the nearby Catholic Mission. The survival and preservation of their sanity in the face of adversity hinged on the valor of Father Simpson. *The Atlantic* review summarises the plot of the novel as follows:

> In the eruption following the Partition of India, a band of murderous Pathans attacks an isolated Catholic Mission harboring some sixty people — two priests, the nuns, Hindu refugees, a British war correspondent, a British colonel and his wife, a young English girl and her mother, a nurse from Glasgow, and a dancer from the brothels of Bombay. The action, which lasts ten days, is one searing flash of violence in which the characters are brilliantly illumined.
>
> *The Atlantic*

Hindu characters that play a pivotal role in the novel include the Bombay prostitute, Kaushalya. Towards the conclusion of the novel, it is implied that she is raped by two Pathans. The novel has sub-plots such as the affair between the "war-weary British journalist", a British Foreign Correspondent Crane and Julia Maxted. Towards the end, a resolution is provided as the Indian Army drive off the tribal soldiers.

## Criticism

Andrew Whitehead criticises the lack of context in the novel with almost no non-Europeans, especially Kashmiri characters, given enough narrative space, let alone giving them distinct identities and names.

The novel has also been criticised for using a traditional trope of a "familiar group of Occidentals in their little island" undergoing a roller-coaster of emotions and experiences. Moreover, the novel's preoccupation with the depiction of the inscrutable interior life of the characters, with all the religious and missionary overtones, makes the narrative less interesting.


title: The Scarlet Shadow

abstract: The Scarlet Shadow is a 1919 American silent comedy film directed by Robert Z. Leonard and starring Mae Murray, Martha Mattox and Frank Elliott.

text:
# The Scarlet Shadow

***The Scarlet Shadow*** is a 1919 American silent comedy film directed by Robert Z. Leonard and starring Mae Murray, Martha Mattox and Frank Elliott.

## Cast

## Bibliography

* Michael G. Ankerich. *Mae Murray: The Girl with the Bee-stung Lips*. University Press of Kentucky, 2012.

## InfoBox

| The Scarlet Shadow | |
| --- | --- |
|  | |
| Directed by | Robert Z. Leonard |
| Written by | Harvey F. Thew |
| Based on | "The Scarlet Strain"
by Lorne H. Fontaine and Katherine Leiser Robbins |
| Starring |  |
| Cinematography | Allen G. Siegler |
| Production
company | Universal Pictures |
| Distributed by | Universal Pictures |
| Release date | * March 10, 1919 (1919-03-10) |
| Country | United States |
| Languages |  |


title: The Sender

abstract: The Sender is a 1982 British psychological horror thriller film directed by Roger Christian and written by Thomas Baum. It stars Kathryn Harrold, Željko Ivanek, Shirley Knight, and Paul Freeman.

text:
# The Sender

***The Sender*** is a 1982 British psychological horror thriller film directed by Roger Christian and written by Thomas Baum. It stars Kathryn Harrold, Željko Ivanek (in his film debut), Shirley Knight, and Paul Freeman.

## Plot

A young, disheveled-looking man is awakened on the side of a road by passing traffic. He walks to a nearby lake and attempts to drown himself by filling his clothing with rocks and walking into the water, but is pulled out and taken to a nearby mental hospital for treatment. He is suffering from retrograde amnesia, unable to remember his name or details of his personal life, other that he lives in a house within several miles and has no father to speak of. Without any form of identification, the patient is designated “John Doe #83”, and placed under the care of psychiatrist Dr. Gail Farmer. Almost immediately, John begins to display odd behavior, with a fellow patient nicknamed “The Messiah” suddenly developing a delusion that he intends to behead him.

At her home later that night, Gail hears a window being broken and witnesses John entering her house and stealing a necklace from her nightstand. When she calls the police, they can find no evidence of a break-in, and her colleagues at the hospital tell her that John is fast asleep in his dormitory. Farmer quickly suspects that John is not all that he seems, as she continues to have strange visions while he is asleep. She theorizes to her boss Dr. Denman that John has some form of telepathy, wherein he “sends” his dreams into the minds of other people, causing them to experience semi-corporeal sensory hallucinations for the duration of the dream. Denman dismisses Gail's hypothesis as her developing a maternal bond with the young patient, and plans to have him treated with electroshock therapy against her wishes. Meanwhile, both Gail and John are haunted by the presence of a middle-aged woman named Jerolyn, apparently John's mother, who tells Gail that she must release John for everyone's well-being but disappears before she can be questioned further.

After John attempts suicide a second time, he's taken in by Denman for electroshock therapy. The moment the current is activated, John unconsciously sends violent and destructive hallucinations towards everyone in the hospital, both staff and patients. Gail rushes in and removes the electrodes. Now believing her hypothesis, Denman begins intensive study of John, while Gail continues to see Jerolyn and other cryptic visions sent by John, including one in which he lies dead with his body covered in rats. She suspects that the visions are memories of the recent past, repressed into the subconscious due to trauma. After John tells her that his mother used to lock him up in the house, she theorizes that Jerolyn, who believed that her son was a miraculous virgin birth, kept him trapped inside her house for his entire life, eventually trying to kill him with carbon monoxide poisoning when she believed he'd leave her.

John's telepathy quickly becomes more and more uncontrollable, especially after he begins “sending” while conscious. Despite Gail's protestations, John is taken into the surgical ward to have an intracranial operation to identify and neutralize the receptors causing his powers. Before the operation begins, the local Sheriff arrives to tell Denman and Gail that they found John's house and mother, but that she's been dead of carbon monoxide poisoning for five days, indicating that he killed her and not the other way around. John's placed under guard, but the moment the surgeons pierce his skull with a drill he suddenly lashes out again, this time causing the room to explode into flames. In the chaos, John steals Gail's car keys and escapes, guided by a vision of his mother.

When they arrive at their house, he turns on the gas stove to kill a swarm of cockroaches, but as he lies in bed he suddenly realizes that his mother is trying to kill him and snaps out of his hallucination. Gail bursts in and drags a suffocating John away, as they're pursued by the projection of his Jerolyn. They manage to get out of the house just before the gas ignites, destroying the house.

Some time later, John has regained his memory and tells his story – his mother tried to kill him, and when he realized what was happening, he fought her and inadvertently knocked her unconscious, leaving her to suffocate while fleeing the house. Unable to cope with what he'd done, his id took the form of a projection of his mother, trying to compel him to kill himself on multiple occasions. Seemingly cured, he leaves the hospital as Gail looks on, only to enter his truck with his mother sitting next to him, indicating he's still suffering from his condition and is bound to relapse.

## Cast

## Production

### Development

The screenplay was written by Thomas Baum, who based in on his own experiences growing up with an agoraphobic and overly protective mother.

The script was first purchased by 20th Century Fox, who were hoping for a quasi follow-up to Brian De Palma’s *The Fury* (1978)—a box office hit about another youth with devastating psychic powers—but the production floundered and was dumped before it got off the ground. The production was, almost immediately, picked up by Paramount Pictures who, after *Friday the 13th* (1980) and *My Bloody Valentine* (1981), were looking for something else to tap the lucrative slasher film market. However, director Roger Christian didn’t approach The Sender as a slasher-horror in the slightest, remarking that he wanted to make a film that was “more Bergman than Carpenter.”

Christian made his feature directorial debut with *The Sender* after producers were impressed with his previously directed short films, *Black Angel* and *The Dollar Bottom*. Several of his previous collaborators, including composer Trevor Jones, cinematographer Roger Pratt, and special effects supervisor Nick Allder, were retained by Christian for the film.

### Casting

The titular role was played by a then-unknown Željko Ivanek, who had previously only ever acted on-stage. The other leading roles were played by Kathryn Harrold, Shirley Knight, and Paul Freeman. Among the supporting actors were Al Matthews, an American-born singer and radio personality living in the UK who later gained fame for his role in Aliens, and Angus MacInnes, a Canadian character actor known for his supporting roles playing North American characters in British films and television programmes.

### Filming

Exteriors were filmed in the American state of Georgia, while interiors were filmed at Shepperton Studios in Surrey.

During filming, several scenes from the script were either changed or cut. Among these were a different ending, in which the character of Gail Farmer seemingly develops telepathic powers of her own.

### Post-production

Dissatisfied with Christian's initial workprint cut as “overly slow” and “artsy”, studio executives ordered the film re-edited to start with the ending and tell the story in flashback. After some argument, in which editor Alan Strachan sided with Christian, it was put back in the original sequence.

## Release

Due to Paramount Pictures’ lukewarm reception towards the film's initial cut and poor test screenings, the film was only given a limited release theatrically in the United States by Paramount Pictures in October 1982. It grossed $1,054,328 at the box office, less than its initial production budget. However one of Christian's foreign agents had been touting the film and it was selected to open for the Avoriaz Fantastic Film Festival in Avoriaz, France, where it was well received by the audience there and championed by director George Miller. It was then given a theatrical release in the United Kingdom by United International Pictures, and later Mexico.

## Legacy

The film is often cited by critics as an influence on *A Nightmare on Elm Street*, with its mental hospital setting and use of surrealist, dream-like imagery particularly pertinent to the third film in the series, *Dream Warriors*. Elm Street writer-director Wes Craven was known to be a fan of writer Thomas Baum, asking him to co-develop his television series *Nightmare Cafe*.

On the commentary track for the DVD release of *Hot Fuzz*, Quentin Tarantino described *The Sender* as his favorite horror film of 1982.

## Further reading

* "Returning to Sender" by John Nicol, *Fangoria* magazine #318, November 2012, pages 64–66. Interview of director Roger Christian. Three-page article has seven photos. In the interview, he says he would be interested in doing a remake and discusses Quentin Tarantino's interest in the film.

## InfoBox

| The Sender | |
| --- | --- |
| Theatrical film poster | |
| Directed by | Roger Christian |
| Written by | Thomas Baum |
| Produced by | Edward S. Feldman |
| Starring |  |
| Cinematography | Roger Pratt |
| Edited by | Alan Strachan |
| Music by | Trevor Jones |
| Production
companies | Kingsmere Productions Ltd.
Paramount Pictures |
| Distributed by | Paramount Pictures |
| Release date | * 22 October 1982 (1982-10-22) (US) |
| Running time | 91 minutes |
| Country | United Kingdom |
| Language | English |
| Budget | $8 million |
| Box office | $1,054,328 (US) |


title: The Semonski Sisters

abstract: The Semonski Sisters are a family musical act that appeared on television's The Lawrence Welk Show from 1975 to 1977. The sextet consisted of sisters Diane, Donna, Joanne, Valerie, Audrey and Michelle. They were born and raised in Hackettstown, New Jersey to parents Joe and Roberta "Rusty" Semonski; the family was of Polish and Irish descent. Musically gifted, the family moved to Altamonte Springs, Florida in 1974 and after just two months there, the sisters got to sing in public for the first time when they and their parents went to see Donald O'Connor perform at Disney World's Top Of The World dinner theater. O' Connor invited the girls onto the stage to perform two numbers. The band leader at Top of the World knew that Lawrence Welk was coming to Florida for the Disney Golf Classic, and he arranged an audition for the sisters with Welk at Channel 9 studios in Orlando, Florida. Encouraged by their audition, Welk invited them out to California to be on his show. The Semonskis spent 2+1⁄2 seasons as members of Welk's Musical Family from 1975 to 1977. During their time with the show, the series as a whole had a far greater focus on musical skits than it did without them. Eldest sister Diane left in late 1976 to pursue a solo singing and songwriting career, and the act was a quintet until they themselves left a year later. Today Diane is employed by Fletcher Music in The Villages, Florida where she teaches residents how to play organ music. She also gives weekly performances singing songs from the Lawrence Welk Show.

text:
# The Semonski Sisters

**The Semonski Sisters** are a family musical act that appeared on television's *The Lawrence Welk Show* from 1975 to 1977.

The sextet consisted of sisters **Diane** (born August 31, 1956), **Donna** (born April 20, 1958), **Joanne** (born July 23, 1960), **Valerie** (March 1, 1962 - May 22, 2022), **Audrey** (born March 28, 1963) and **Michelle** (born August 16, 1967). They were born and raised in Hackettstown, New Jersey to parents Joe and Roberta "Rusty" Semonski; the family was of Polish and Irish descent.

Musically gifted, the family moved to Altamonte Springs, Florida in 1974 and after just two months there, the sisters got to sing in public for the first time when they and their parents went to see Donald O'Connor perform at Disney World's Top Of The World dinner theater. O' Connor invited the girls onto the stage to perform two numbers. The band leader at Top of the World knew that Lawrence Welk was coming to Florida for the Disney Golf Classic, and he arranged an audition for the sisters with Welk at Channel 9 studios in Orlando, Florida. Encouraged by their audition, Welk invited them out to California to be on his show.

The Semonskis spent 2+12 seasons as members of Welk's Musical Family from 1975 to 1977. During their time with the show, the series as a whole had a far greater focus on musical skits (a medium at which the sextet was particularly adept) than it did without them. Eldest sister Diane left in late 1976 to pursue a solo singing and songwriting career, and the act was a quintet until they themselves left a year later.

Today Diane is employed by Fletcher Music in The Villages, Florida where she teaches residents how to play organ music. She also gives weekly performances singing songs from the Lawrence Welk Show.


title: Marmessoidea

abstract: Marmessoidea is an Asian genus of stick insects in the family Lonchodidae and subfamily Necrosciinae. The native range of species appears to be from India and South-East Asia to the Wallace line.

text:
# Marmessoidea

***Marmessoidea*** is an Asian genus of stick insects in the family Lonchodidae and subfamily Necrosciinae. The native range of species appears to be from India and South-East Asia to the Wallace line.

## Species

The Catalogue of Life and *Phasmida Species File* list:

1. Brunner von Wattenwyl (1893) *Annali del Museo Civico di Storia Naturale Giacomo Doria, Genova* (2)13(33): 84.
2. Roskov Y.; Kunze T.; Orrell T.; Abucay L.; Paglinawan L.; Culham A.; Bailly N.; Kirk P.; Bourgoin T.; Baillargeon G.; Decock W.; De Wever A. (2011). Didžiulis V. (ed.). "Species 2000 & ITIS Catalogue of Life: 2011 Annual Checklist". Species 2000: Reading, UK. Retrieved 24 September 2012.
3. Phasmida Species File (Version 5.0/5.0: retrieved 6 October 2019)

## InfoBox

| *Marmessoidea* | |
| --- | --- |
|  | |
| *Marmessoidea rosea* | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Phasmatodea |
| Family: | Lonchodidae |
| Tribe: | Necrosciini |
| Genus: | *Marmessoidea*<br>Brunner von Wattenwyl, 1893 |
|
| Synonyms | |
| *Trigonophasma* Kirby, 1904 | |


title: Mark Pike

abstract: Mark Harold Pike was an American professional football player who was a linebacker, defensive end, and special teamer for twelve seasons in the National Football League (NFL) with the Buffalo Bills. He was originally selected in the seventh round of the 1986 NFL Draft by the Bills. He played in four Super Bowls.

text:
# Mark Pike

**Mark Harold Pike** (December 27, 1963 – December 8, 2021) was an American professional football player who was a linebacker, defensive end, and special teamer for twelve seasons in the National Football League (NFL) with the Buffalo Bills. He was originally selected in the seventh round of the 1986 NFL Draft by the Bills. He played in four Super Bowls.

## Biography

Pike was a graduate of Dixie Heights High School in Erlanger, Kentucky.

He died on December 8, 2021, at age 57, from non-Hodgkin lymphoma complicated by COVID-19 pneumonia.

## InfoBox

Mark Pike
|  | |
| --- | --- |
| No. 57, 94 | |
| Position: | Linebacker
Defensive end
Special teamer |
| Personal information | |
| Born: | (1963-12-27)December 27, 1963
Elizabethtown, Kentucky, U.S. |
| Died: | December 8, 2021(2021-12-08) (aged 57) |
| Height: | 6 ft 4 in (1.93 m) |
| Weight: | 272 lb (123 kg) |
| Career information | |
| High school: | Dixie Heights
(Edgewood, Kentucky) |
| College: | Georgia Tech |
| NFL draft: | 1986 / round: 7 / pick: 178 |
| Career history | |
|  | |
|  | |
| Career NFL statistics | |
| Tackles: 41  Fumble recoveries: 1  Sacks: 1.0 | |
|  | |
| Player stats at **PFR** | |
|  | |


title: Markus Haverinen

abstract: Markus Haverinen is a Finnish former professional ice hockey forward. Haverinen began his career with Kärpät, playing four years in their junior teams but never managed to play for the senior side. After being released in 2004, he joined Hokki of the second-tier Mestis and went on to play a total of 202 games for the team over two separate spells. In 2010, Haverinen moved to Sweden and signed for Kiruna IF of Hockeyettan and stayed for two seasons before retiring.

text:
# Markus Haverinen

**Markus Haverinen** (born September 24, 1983) is a Finnish former professional ice hockey forward.

Haverinen began his career with Kärpät, playing four years in their junior teams but never managed to play for the senior side. After being released in 2004, he joined Hokki of the second-tier Mestis and went on to play a total of 202 games for the team over two separate spells.

In 2010, Haverinen moved to Sweden and signed for Kiruna IF of Hockeyettan and stayed for two seasons before retiring.

## InfoBox

| Markus Haverinen | | | |
| --- | --- | --- | --- |
| Born | (1983-09-24) September 24, 1983<br>Kajaani, Finland | | |
| Height | 6 ft 0 in (183 cm) | | |
| Weight | 192 lb (87 kg; 13 st 10 lb) | | |
| Position | Forward | | |
| Shot | Left | | |
| Played for | Hokki | | |
| Playing career | 20042012 | | |


title: The Secrets of the Black Arts

abstract: The Secrets of the Black Arts is the debut studio album by Swedish black metal band Dark Funeral, released in January 1996, by No Fashion Records. It was re-released on 31 July 2007, with a bonus disc consisting of the album original recording. The Secrets of the Black Arts is the only album to feature guitarist Blackmoon, vocalist/bassist Themgoroth and drummer Equimanthorn. The original recording was produced by Dan Swanö at Unisound Studios. According to Blackmoon, he insisted that they re-record the album due to "severely unprofessional production and manner from Mr. Swanö". He continued, "He was overworked and mentally tired when we came to the studio. Also, our then-drummer was not playing as good as he should have. So it ended up crap." The rest of the band was satisfied with the recording, but Blackmoon refused to release the album with that recording. They decided on The Abyss Studio and recorded the album that was eventually released to the public. A music video was shot for "The Secrets of the Black Arts".

text:
# The Secrets of the Black Arts

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| About.com |  |
| AllMusic |  |

***The Secrets of the Black Arts*** is the debut studio album by Swedish black metal band Dark Funeral, released in January 1996, by No Fashion Records. It was re-released on 31 July 2007, with a bonus disc consisting of the album original recording (digitally re-mixed in April 2007). *The Secrets of the Black Arts* is the only album to feature guitarist Blackmoon, vocalist/bassist Themgoroth and drummer Equimanthorn.

The original recording (15–21 January 1995) was produced by Dan Swanö at Unisound Studios. According to Blackmoon, he insisted that they re-record the album due to "severely unprofessional production and manner from Mr. Swanö". He continued, "He was overworked and mentally tired when we came to the studio. Also, our then-drummer was not playing as good as he should have. So it ended up crap." The rest of the band was satisfied with the recording, but Blackmoon refused to release the album with that recording. They decided on The Abyss Studio and recorded the album that was eventually released to the public.

A music video was shot for "The Secrets of the Black Arts".

## Track listing

Writing by Dark Funeral except where noted.

| No. | Title | Lyrics | Music | Length |
| --- | --- | --- | --- | --- |
| 1. | "The Dark Age Has Arrived" (Intro) |  |  | 0:16 |
| 2. | "The Secrets of the Black Arts" | Blackmoon, Themgoroth |  | 3:42 |
| 3. | "My Dark Desires" | Themgoroth | Blackmoon | 3:47 |
| 4. | "The Dawn No More Rises" | Blackmoon | Blackmoon, Ahriman, Themgoroth | 4:00 |
| 5. | "When Angels Forever Die" | Blackmoon | Blackmoon, Ahriman, Themgoroth | 4:07 |
| 6. | "The Fire Eternal" | Blackmoon | Blackmoon, Ahriman | 3:55 |
| 7. | "Satan's Mayhem" | Themgoroth |  | 4:54 |
| 8. | "Shadows over Transylvania" | Blackmoon, Ahriman | Blackmoon, Ahriman | 3:41 |
| 9. | "Bloodfrozen" | Blackmoon | Blackmoon, Ahriman | 4:21 |
| 10. | "Satanic Blood" (Von cover) | Von | Von | 2:11 |
| 11. | "Dark Are the Paths to Eternity (A Summoning Nocturnal)" | Themgoroth | Blackmoon, Ahriman | 5:59 |
| Total length: | | | | 40:53 |

2007 reissue bonus disc
| No. | Title | Length |
| --- | --- | --- |
| 1. | "Shadows Over Transylvania" (Unisound version) | 3:39 |
| 2. | "The Dawn No More Rises" (Unisound version) | 3:40 |
| 3. | "The Secrets of the Black Arts" (Unisound version) | 3:27 |
| 4. | "Satan's Mayhem" (Unisound version) | 4:49 |
| 5. | "Bloodfrozen" (Unisound version) | 3:36 |
| 6. | "My Dark Desires" (Unisound version) | 3:23 |
| 7. | "Dark Are the Path to Eternity (A Summoning Nocturnal)" (Unisound version) | 5:38 |
| 8. | "The Fire Eternal" (Unisound version) | 3:38 |
| Total length: | | 31:50 |

## Personnel

### Dark Funeral

* Themgoroth – vocals, bass guitar
* Blackmoon – guitar, vocals on "Satanic Blood"
* Lord Ahriman – guitar
* Equimanthorn – drums

## InfoBox

| The Secrets of the Black Arts | |
| --- | --- |
|  | |
| Studio album by Dark Funeral | |
| Released | January 1996 (1996-01) |
| Recorded | 1995 |
| Studio | The Abyss |
| Genre | Black metal |
| Length | 40:53 |
| Language | English |
| Label | No Fashion |
| Producer | Dark Funeral, Peter Tägtgren |
| Dark Funeral chronology | |
| *Dark Funeral*
(1994) ***The Secrets of the Black Arts***
(1996) *Vobiscum Satanas*
(1998) | |


title: The Secrets of the Red Sea

abstract: The Secrets of the Red Sea is a 1937 French adventure film directed by Richard Pottier and starring Harry Baur, Gaby Basset and Alexandre Mihalesco. It was based on the 1931 novel of the same title by Henry de Monfreid. The film's sets were designed by the art director Lucien Aguettand.

text:
# The Secrets of the Red Sea

***The Secrets of the Red Sea*** (French: ***Les secrets de la Mer Rouge***) is a 1937 French adventure film directed by Richard Pottier and starring Harry Baur, Gaby Basset and Alexandre Mihalesco. It was based on the 1931 novel of the same title by Henry de Monfreid. The film's sets were designed by the art director Lucien Aguettand.

## Synopsis

Saïd Ali, an elderly Arab, lives on an island in the Red Sea and spends his days collecting pearls. A rival plots to kill him in order to steal his wealth.

## Cast

1. Gilles p.191

## Bibliography

* Christian Gilles. *L'avant-guerre, 1937-1939*. Harmattan, 2002.
* Jonathan Miran, "Pearling Fortunes: Recovering 'Ali al-Nahari, a Legendary Red Sea Magnate in the Early Twentieth Century," in Pedro Machado, Steve Mullins & Joseph Christensen. *Pearls, People, and Power: Pearling and Indian Ocean Worlds*. Ohio University Press, 2020.

## InfoBox

| The Secrets of the Red Sea | |
| --- | --- |
|  | |
| Directed by | Richard Pottier |
| Written by | Joseph Kessel
René Pujol
Carlo Rim |
| Based on | *The Secrets of the Red Sea* by Henry de Monfreid |
| Starring | Harry Baur
Gaby Basset
Alexandre Mihalesco |
| Cinematography | Jean Bachelet |
| Edited by | Pierre Méguérian |
| Music by | Fred Mélé
Jean Yatove |
| Production
company | PSB Films |
| Release date | * 8 September 1937 (1937-09-08) |
| Running time | 87 minutes |
| Country | France |
| Language | French |