Paragraph 1: Rapid amplification of cDNA ends (RACE) is a technique used in molecular biology to obtain the full length sequence of an RNA transcript found within a cell. RACE results in the production of a cDNA copy of the RNA sequence of interest, produced through reverse transcription, followed by PCR amplification of the cDNA copies (see RT-PCR). The amplified cDNA copies are then sequenced and, if long enough, should map to a unique genomic region. RACE is commonly followed up by cloning before sequencing of what was originally individual RNA molecules. A more high-throughput alternative which is useful for identification of novel transcript structures, is to sequence the RACE-products by next generation sequencing technologies.

Paragraph 2: In 1994, Newman moved to ABC News in the United States, where he anchored ABC World News Now until 1996.  He also anchored ABC World News This Morning, and served as a correspondent for World News Tonight. In June 1997, ABC News assigned Newman as newsreader of Good Morning America after the departure of Elizabeth Vargas. In May 1998, he was named co-anchor, with Lisa McRee, of Good Morning America. The show, which had been struggling in the ratings, continued to perform poorly, and both McRee and Newman were reassigned in January 1999 to other reporting duties within ABC, with Newman becoming a correspondent for Nightline and as a substitute anchor for Peter Jennings and Carole Simpson on both the weeknight and Sunday editions of World News Tonight.  Newman anchored breaking news coverage of the death of Diana, Princess of Wales.

Paragraph 3: Gofraid mac Fergusa is noted twice by the Annals of the Four Masters. One entry is dated 834. Although the other is dated 851, this entry appears lumped together with entries corresponding to events dated to 853 in other sources. The first entry identifies Gofraid mac Fergusa as a chieftain of the Airgíalla, and states that he went to Alba to support Dál Riata, at the behest of Cináed mac Ailpín (died 858). The second entry styles Gofraid mac Fergusa chief of  whilst reporting his death. There are several reasons to doubt the historical accuracy of these annal-entries. For example, the name  is a Gaelic form of an Old Norse name, whilst the name  is Gaelic. Although these names could be indicative of mixed ancestry of a bearer, the early ninth century seems to be extremely early for such intermingling amongst the upper classes, especially for an alleged leading member of the Airgíalla, a population group located in north-central Ireland. In fact, the name  is not attested amongst the Irish or Norse in any uninterpolated Irish source for the ninth century. Certainly, a Gofraid son of Fergus is otherwise unrecorded amongst the Airgíalla, nor is such a figure otherwise attested by any contemporary or near-contemporary source. Furthermore, there is no contemporary or near-contemporary record of Cináed ruling before 842, and it is not until the late thirteenth century when a source—the Chronicle of Huntingdon—erroneously dates the outset of his reign to 834. This particular miscalculation was further propagated in the late fourteenth century by the influential Chronica gentis Scotorum of John Fordun (died 1363). Another issue concerning the entries is the fact that the term  ("the Islands of the Foreigners") is an anachronism during for the period in question, and is otherwise first attested by an historical source in the tenth century.

Paragraph 4: Gofraid mac Fergusa is noted twice by the Annals of the Four Masters. One entry is dated 834. Although the other is dated 851, this entry appears lumped together with entries corresponding to events dated to 853 in other sources. The first entry identifies Gofraid mac Fergusa as a chieftain of the Airgíalla, and states that he went to Alba to support Dál Riata, at the behest of Cináed mac Ailpín (died 858). The second entry styles Gofraid mac Fergusa chief of  whilst reporting his death. There are several reasons to doubt the historical accuracy of these annal-entries. For example, the name  is a Gaelic form of an Old Norse name, whilst the name  is Gaelic. Although these names could be indicative of mixed ancestry of a bearer, the early ninth century seems to be extremely early for such intermingling amongst the upper classes, especially for an alleged leading member of the Airgíalla, a population group located in north-central Ireland. In fact, the name  is not attested amongst the Irish or Norse in any uninterpolated Irish source for the ninth century. Certainly, a Gofraid son of Fergus is otherwise unrecorded amongst the Airgíalla, nor is such a figure otherwise attested by any contemporary or near-contemporary source. Furthermore, there is no contemporary or near-contemporary record of Cináed ruling before 842, and it is not until the late thirteenth century when a source—the Chronicle of Huntingdon—erroneously dates the outset of his reign to 834. This particular miscalculation was further propagated in the late fourteenth century by the influential Chronica gentis Scotorum of John Fordun (died 1363). Another issue concerning the entries is the fact that the term  ("the Islands of the Foreigners") is an anachronism during for the period in question, and is otherwise first attested by an historical source in the tenth century.

Paragraph 5: The railroad owns five open-air passenger cars, four of which came from Billy Jones' ranch, and were originally built for the Overfair Railway at the 1915 Panama–Pacific International Exposition (other cars and locomotives from the railway are currently at the Swanton Pacific Railroad), and a special handicap car for wheelchair passengers built in the mid-1990s for ADA compliance. Each of the regular cars can seat up to 24 passengers, while the handicap car can seat up to three wheelchairs or roughly 12 passengers. A train composed of all five cars can carry 108 passengers. This can create capacity issues on the railroad's busiest days. To alleviate this issue, the railroad commenced construction on a fifth regular car, which is slightly different in construction, using modular seats for easier cleaning. Because the original car drawings are lost, the railroad had to resort to reverse-engineering one of the existing cars. The car, named LIVE OAK, entered revenue service on December 10, 2016. A full six-car train can seat up to 132 passengers at once, 120 if the handicap car is not used. In the following years, Cars 1-4 were rebuilt by volunteers to the same standards as LIVE OAK. In addition to the passenger cars, the railroad also owns a utility flat and a ballast hopper for work trains, plus three flatcars donated to the railroad in 2015, of which only one is rail-worthy and mainly used for storing the ramps used to get equipment on and off trucks. A self-propelled motorcar affectionately known as the "Putt-Putt" was used as a weedspraying car until it was scrapped sometime in 2012 for being unsafe, as well as the city forbidding the use of conventional weedspray in Vasona Park, forcing the railroad to use its own blend, as well as pull weeds by hand.

Paragraph 6: For conspicuous gallantry and intrepidity at the risk of his life above and beyond the call of duty while serving as a Squad Leader of Company F, Second Battalion, Seventh Marines, First Marine Division (Reinforced), in action against enemy aggressor forces in Korea on March 28, 1953. Participating in a counterattack against a firmly entrenched and well-concealed hostile force which had repelled six previous assaults on a vital enemy-held outpost far forward of the main line of resistance, Sergeant Matthews fearlessly advanced in the attack until his squad was pinned down by a murderous sweep of fire from an enemy machine gun located on the peak of the outpost. Observing that the deadly fire prevented a corpsman from removing a wounded man lying in an open area fully exposed to the brunt of the devastating gunfire, he worked his way to the base of the hostile machine-gun emplacement, leaped onto the rock fortification surrounding the gun and, taking the enemy by complete surprise, single-handedly charged the hostile emplacement with his rifle. Although severely wounded when the enemy brought a withering hail of fire to bear upon him, he gallantly continued his valiant one-man assault and, firing his rifle with deadly effectiveness, succeeded in killing two of the enemy, routing a third and completely silencing the enemy weapon, thereby enabling his comrades to evacuate the stricken Marine to a safe position. Succumbing to his wounds before aid could reach him, Sergeant Matthews, by his indomitable fighting spirit, courageous initiative and resolute determination in the face of almost certain death, served to inspire all who observed him and was directly instrumental in saving the life of his wounded comrade. His great personal valor reflects the highest credit upon himself and enhances the finest traditions of the United States Naval Service. He gallantly gave his life for his country.

Paragraph 7: Tosh becomes pregnant through the insemination and they announce this at Stan's birthday party, although she loses the baby soon after. Depressed at this, Tosh accepts Tina's nephew Dean Wicks' (Matt Di Angelo) offer of being a sperm donor, without Tina's knowledge or consent. Tina is angry when she finds out, but forgives Tosh and supports her when she discovers she is not pregnant again. They fall out when Tosh accuses her of not wanting a baby, and Tosh punches her after taunting her. Tina again forgives her and decides to try and reconcile Tosh with her family by arranging a lunch for them. Her mother Judy (Jo Martin) comes, but her father makes an excuse, uncomfortable with Tosh's sexuality due to his Christian faith. Judy storms out when Tina tells her about their attempts to have a baby, upsetting Tosh further. Tina is devastated when Stan reveals that he is dying from prostate cancer, and is even more upset when she learns that Stan knew about his illness 3 years prior to him telling the family. She and Tosh urge Stan to see a private doctor, however he reveals that Stan's cancer is too aggressive to be cured, which leaves Tina distraught. Tina supports Sonia when she falls ill, and she confides in her that she spent the money from the charity calendar she organised on a gastric band in Bulgaria, to impress her husband Martin (James Bye). Tosh returns home while Sonia is hiding in Tina's room, but she manages to sneak out before Tosh realizes. When Martin fails to turn up to the Christmas party for Sonia's group "Fat Blasters", Sonia decides to announce her actions but Tina urges her not to; however, before she can, she collapses. When the paramedics arrive, Tina reveals Sonia has had an operation to fit a gastric band, which shocks Carol and Martin. Babe leads Tosh to believe that Tina is having an affair with Sonia and when Tina denies this, Tosh viciously beats her. The next day, Tina decides that she cannot forgive Tosh for what she has done and thinks it best to move back to the Vic, while Tosh leaves Walford when Tina breaks up with her. Mick stops Tina assisting Stan's requested suicide. Tina is devastated by Stan's death and delivers the eulogy. Tina and Sonia become partners, splitting up briefly when Tina finds out Sonia cheated with her estranged husband Martin. They reconcile when Sonia helps Linda after she goes into premature labour.

Paragraph 8: In 2005, Les dumped Chesney on the Croppers to jet off to Spain for six weeks, upon his return he expressed. They came back, but Chesney said he hated it at home and wanted to go back to the Croppers. The couple then decided to get married for the "luxurious" presents they would receive from their guests. Les’ dream came true when his favourite band, Status Quo, popped into the Rovers after a concert in the area. As he approached the band with records for them to sign, they, in turn, thumped him (as they recognised him as the lunatic who jumped on stage at a concert some twenty years previous, causing a permanent neck injury to lead singer Francis Rossi). He didn't lose his faith in the Quo though, and didn't anticipate that they would soon meet again. Cilla quickly smelt a way to make money from this and told a reluctant Les to contact his solicitor in regards to suing the band for assault. In order to avoid the bad publicity, the band were eager to settle the case with Les quickly and quietly, but Cilla's dreams of riches were quickly dashed when accepting a cash offer, settled for the band to play at the wedding reception. On her hen night, Cilla found a younger bloke on her last night of freedom, but was interrupted by a drunk Les coming home, and she passed the man off as her older son, Billy, who had turned up for the wedding. but Les was too drunk to say anything and fell asleep, while the man ran off in disgust. The real Billy turned up on the morning of her wedding day, but told Les, who was baffled upon realising that the two men were different, that perhaps he was too drunk to even remember what he looked like. Les agreed and shrugged it off, and nothing more was said. Les and Cilla finally arranged their wedding day, despite the fact that the priest was a de-frocked clergyman, and they had to distract the real vicar while they "married." Cilla smashed Tracy Barlow's (Kate Ford) window (due to the fact that she wouldn't hand over the bouquet of flowers for the ceremony because Cilla wouldn't pay up) and then ran to Dev Alahan’s (Jimmi Harkishin) shop and stole some flowers, before jumping into the wedding car heading towards the church. Les was driving when he spotted a member of Status Quo, took his eyes off the road to stare in amazement, and crashed into their van (with the other band member inside). Les put on a neck brace before "tying the knot" with Cilla, and they became known as Mr & Mrs. Battersby-Brown. The Quo turned up at a back room in the reception (where the presents were being kept) to rest. Les walked in, and told his idols that his dream was to trash a room with expensive things in. He duly wrecked everything, and threw a wedding-present TV out of the window as Cilla walked in to inform him that he had just trashed the presents. She went berserk and started attacking Les as the Quo watched in bursts of laughter, and the reception ended with the band agreeing to put past differences with Les behind, performing "Rockin’ All Over the World" with Les as a member of the band. Cilla then went on the honeymoon with her friend, Yana Lumb (Jayne Bickerton), instead of Les.

Paragraph 9: The Mailers Trade District Union (MTDU) was an internal part of the ITU. Lawsuits from 1926–1944 were fought for mailer rights. The MTDU was eventually abolished by court injunction and referendum vote. In 1929, ITU president Charles P. Howard selected third vice-president C. N. Smith (a printer) to represent the MTDU. The mailers were allowed to vote in 1930 for their MTDU representative; John Mc Ardle and Harold Mitchell served in 1934. Munro Roberts was elected as MTDU member of the executive council, (1935–1937) but he had no voice or vote. After many heated arguments with ITU President Howard and Secretary Randolph, Roberts became committed to a separate mailer union. Moreover, the International Mailers' Union (IMU), was created and many shops would have two boards, ITU and IMU. With the departure of Roberts, Thomas J. Martin represented the MTDU (1938–1944). The MTDU continued by court order; however, the mailers were again without an observer to the executive council. The 1947 Cleveland convention paved the way for the demise of the MTDU and the election of a mailer to the executive council. Joe Bailey (San Francisco–Oakland Mailers #M-18), was elected third vice-president before the 1948 Milwaukee convention. ITU President Woodruff Randolph saw a way to appease mailers returning after service in World War II. The agreement made between ITU President Randolph and Joe Bailey: only a Printer would ever be president, first and second Vice-President or Secretary-Treasurer of the ITU. The position of third Vice-President would be held only by a Mailer. The IMU lost much power to draw new membership. The IMU finally was finally fully merged into the ITU only in 1982, only five years before the union's demise. Joe Bailey served on the ITU executive council until 1973. A mailer would remain ITU third vice-president: Robert F. Ameln, (1974–1975) and the Canadian mailer, Allen J. Heritage, (1976–1986).

Paragraph 10: Now. Here. This. takes place in a natural history museum. The show follows the adventures and evolution of four friends as they journey through time--from the present day museum, to the past, and back again. Along the way, the \exhibits inspire them to share stories from their lives. The action begins with a Big Bang. The opening number (What Are the Odds) tracks the evolution of the human race, all the way up to the moment when the foursome arrive at this very moment in time, on this stage, at this theatre, in front of this audience. Naturally, the discussion turns to the teaching of Trappist monk Thomas Merton, "because nothing says musical theatre like a discussion about a Trappist monk." Merton asked folks to keep in mind three words: Now (not the past or the future), Here (exactly where you are), and This (whatever it is you're doing). Merton believed that if you can get to the intersection of these three things ("Now. Here. This.), then you will be truly present to experience "more life." The scene shifts to a planetarium exhibit in the museum, and the foursome ponder life's big and small questions, each expressing their desire for things that they hope will bring them happiness: more stuff, more love, more magic dogs named "Mr. Winston Sparkles" (More Life). The group decides to divide and conquer the museum in search of more life and the Now. Here. This. As they explore, exhibits begin to trigger memories and stories. At the deep sea exhibit, Jeff relives his experience performing at his middle school's Pancake Supper where she slays the audience with a mean Ed Grimley impersonation, and discovers his ability to cloak his true self from unwanted scrutiny (Dazzle Camouflage). For Heidi, it's recollections of childhood attention-seeking in the Hall of Birds (Give Me Your Attention). Hunter escapes into his familiar fantasy world while staring at a turtle display, imagining good times with his superdeluxe fantasy boyfriend (Archer), and at the bee exhibit, Susan recognizes herself as the busy bee who over-schedules her life with activities to distract from the discomfort of growing up in an unusual house (I Rarely Schedule Nothing). As their memories and stories grow into a chaotic (Cacophony), they all begin to understand the obstacles that stand between them and the Now. Here. This. The four then regroup in the Hall of Human Origins. Native garments and rituals ignite adolescent hopes of the perfect garment that will bring happiness and popularity (Members Only). Susan and Heidi sing about two kinds of lives with two different sets of struggles (That'll Never Be Me). Jeff recalls the regret of missing out on real college friends and fun because he was afraid to reveal his true self (Kick Me). The four friends continue to explore the museum and come across information about Aboriginal family trees and tribes. The gang sings in celebration of having found each other--their chosen tribe--out of all the people in the world (Then Comes You). A museum exhibit about the measurement of time inspires them to sing about an afternoon boat ride that seemed to last a millennium (The Amazing Adventures of the "Doc" Wilbert S. Pound). In (That Makes Me Hot) they exchange stories about moments when they found themselves in the 'Now. Here. This. Susan shares the myth of the ("Golden Palace"), a faraway place where only the privileged few are granted admission. In (Get Into It) we experience Hunter's fantasy world from the inside and the outside. Heidi struggles with rules and expectations determined long ago, eventually realizing that she can now define her own rules and choose her own adventure (This Time). After a full day at the museum, the ("Finale") exhorts the audience leave the museum of the past, to consciously step directly into the Now. Here. This. and ultimately experience more life.

Paragraph 11: Hande Yener's first studio album Senden İbaret was produced by Ercan Saatçi and released by DMC on 31 May 2000. Thus Yener became the first female vocalist introduced to the market by DMC. The album's preparations lasted for a year, and its songs were written by Altan Çetin. Yener described the album's style as "neither Western nor Arabesque, just Turkish pop". Various Turkish newspapers started making predictions about the outcome of her collaboration with Altan Çetin, a well-known songwriter who had previously worked with İzel. Columnists said that Yener would "sit on İzel's throne", in response to which Yener said that she was different from İzel. Yener also made it clear that the album was initially meant to be prepared for İzel, but after she got into troubles with DMC, the original project was set aside. Senden İbarets lead single "Yalanın Batsın", became the first song for which a music video was released. The song became a hit inside Turkey in summer 2000 and successfully topped the music charts. Yener herself was surprised with the outcome saying: "I believed that I would succeed. But I was really surprised and immensely happy with the rapid development of everything." Hürriyet wrote that Yener had made a great debut and named her as one of the shining stars of the year. Following the release of a music video for "Yalanın Batsın", separate clips were also released for "Bunun Adı Ayrılık" and "Yoksa Mani". Yener was put in danger of freezing while filming the music video for "Bunun Adı Ayrılık". In 2000, she won the Best Newcomer award at the Golden Butterfly Awards, and the music video for "Yalanın Batsın" was awarded with the Best Music Video award together with Candan Erçetin's music video for "Elbette". At the award ceremony organized by Akademik Bakış magazine and later at the 2001 Kral TV Video Music Awards, Yener received the Best Female Newcomer award. Magazin Journalists Association chose her as the Promising Female Singer. Yener also appeared in the album Türk Marşları, prepared by Gendarmerie General Command together with Turkish pop singers and released at the end of 2000. She performed the song "Biz Atatürk Gençleriyiz" in the album. For her first EP, Extra, which was released in 2001, she included new versions of the songs from her first studio album Senden İbaret. Meanwhile, she made a guest appearance in one of the episodes of Show TV's series Dadı.

Paragraph 12: Czajkowski was born in Modlin and started fencing at the age of 14, while in high school. The outbreak of the Second World War interrupted his fencing career as, immediately after his graduation in 1939, he enlisted in the Polish Navy to fight the Nazis. In September 1939, Czajkowski, along with four other Polish sailors, was captured by the Soviet army and sent for interrogation to the city of Kobryn. He was fortunate to avoid execution as the commissar in Kobryn was not interested in Czajkowski and sent him home. Czajkowski then made his way back to the Soviet controlled Lwów and, while waiting to be allowed to cross the Romanian border to rejoin the Polish forces in France, continued his fencing training. In April 1940, while on his way to the border, Czajkowski was again arrested by Soviet soldiers and this time spent over a year in various Soviet prisons, being interrogated and tortured. He was then sent to the Soviet labor camp in Vorkuta, beyond the polar circle where he survived extremely harsh conditions until, in September 1941, the new head of the labor camp decided to free him. During all his time as a Soviet prisoner, one of Czajkowski's main diversions was to hold a wooden spoon in his hand as though it were a sabre and "practice" fencing - visualizing himself engaged in his favorite activity as a distraction from the hardships of his imprisonment. After being freed from Vorkuta, Czajkowski spent weeks making his way to Uzbekistan, where he stayed for several months working on cotton and rice plantations. Before leaving, he also spent some time coaching fencing. On February 5, 1942, his birthday, Czajkowski rejoined the Polish Navy. He eventually was stationed in Great Britain, at the Polish Naval Station in Plymouth. Soon after D-Day, Czajkowski received leave from the Navy and began studying medicine at the University of Edinburgh in Scotland. He fenced for the Edinburgh University fencing club and the Scottish Fencing Club. He also began to do some amateur coaching for the Polish Students Association in Great Britain. His son was born in Edinburgh 1 December 1945.

Paragraph 13: For conspicuous gallantry and intrepidity at the risk of his life above and beyond the call of duty while serving as a Squad Leader of Company F, Second Battalion, Seventh Marines, First Marine Division (Reinforced), in action against enemy aggressor forces in Korea on March 28, 1953. Participating in a counterattack against a firmly entrenched and well-concealed hostile force which had repelled six previous assaults on a vital enemy-held outpost far forward of the main line of resistance, Sergeant Matthews fearlessly advanced in the attack until his squad was pinned down by a murderous sweep of fire from an enemy machine gun located on the peak of the outpost. Observing that the deadly fire prevented a corpsman from removing a wounded man lying in an open area fully exposed to the brunt of the devastating gunfire, he worked his way to the base of the hostile machine-gun emplacement, leaped onto the rock fortification surrounding the gun and, taking the enemy by complete surprise, single-handedly charged the hostile emplacement with his rifle. Although severely wounded when the enemy brought a withering hail of fire to bear upon him, he gallantly continued his valiant one-man assault and, firing his rifle with deadly effectiveness, succeeded in killing two of the enemy, routing a third and completely silencing the enemy weapon, thereby enabling his comrades to evacuate the stricken Marine to a safe position. Succumbing to his wounds before aid could reach him, Sergeant Matthews, by his indomitable fighting spirit, courageous initiative and resolute determination in the face of almost certain death, served to inspire all who observed him and was directly instrumental in saving the life of his wounded comrade. His great personal valor reflects the highest credit upon himself and enhances the finest traditions of the United States Naval Service. He gallantly gave his life for his country.

Paragraph 14: Tosh becomes pregnant through the insemination and they announce this at Stan's birthday party, although she loses the baby soon after. Depressed at this, Tosh accepts Tina's nephew Dean Wicks' (Matt Di Angelo) offer of being a sperm donor, without Tina's knowledge or consent. Tina is angry when she finds out, but forgives Tosh and supports her when she discovers she is not pregnant again. They fall out when Tosh accuses her of not wanting a baby, and Tosh punches her after taunting her. Tina again forgives her and decides to try and reconcile Tosh with her family by arranging a lunch for them. Her mother Judy (Jo Martin) comes, but her father makes an excuse, uncomfortable with Tosh's sexuality due to his Christian faith. Judy storms out when Tina tells her about their attempts to have a baby, upsetting Tosh further. Tina is devastated when Stan reveals that he is dying from prostate cancer, and is even more upset when she learns that Stan knew about his illness 3 years prior to him telling the family. She and Tosh urge Stan to see a private doctor, however he reveals that Stan's cancer is too aggressive to be cured, which leaves Tina distraught. Tina supports Sonia when she falls ill, and she confides in her that she spent the money from the charity calendar she organised on a gastric band in Bulgaria, to impress her husband Martin (James Bye). Tosh returns home while Sonia is hiding in Tina's room, but she manages to sneak out before Tosh realizes. When Martin fails to turn up to the Christmas party for Sonia's group "Fat Blasters", Sonia decides to announce her actions but Tina urges her not to; however, before she can, she collapses. When the paramedics arrive, Tina reveals Sonia has had an operation to fit a gastric band, which shocks Carol and Martin. Babe leads Tosh to believe that Tina is having an affair with Sonia and when Tina denies this, Tosh viciously beats her. The next day, Tina decides that she cannot forgive Tosh for what she has done and thinks it best to move back to the Vic, while Tosh leaves Walford when Tina breaks up with her. Mick stops Tina assisting Stan's requested suicide. Tina is devastated by Stan's death and delivers the eulogy. Tina and Sonia become partners, splitting up briefly when Tina finds out Sonia cheated with her estranged husband Martin. They reconcile when Sonia helps Linda after she goes into premature labour.

Paragraph 15: For conspicuous gallantry and intrepidity at the risk of his life above and beyond the call of duty while serving as a Squad Leader of Company F, Second Battalion, Seventh Marines, First Marine Division (Reinforced), in action against enemy aggressor forces in Korea on March 28, 1953. Participating in a counterattack against a firmly entrenched and well-concealed hostile force which had repelled six previous assaults on a vital enemy-held outpost far forward of the main line of resistance, Sergeant Matthews fearlessly advanced in the attack until his squad was pinned down by a murderous sweep of fire from an enemy machine gun located on the peak of the outpost. Observing that the deadly fire prevented a corpsman from removing a wounded man lying in an open area fully exposed to the brunt of the devastating gunfire, he worked his way to the base of the hostile machine-gun emplacement, leaped onto the rock fortification surrounding the gun and, taking the enemy by complete surprise, single-handedly charged the hostile emplacement with his rifle. Although severely wounded when the enemy brought a withering hail of fire to bear upon him, he gallantly continued his valiant one-man assault and, firing his rifle with deadly effectiveness, succeeded in killing two of the enemy, routing a third and completely silencing the enemy weapon, thereby enabling his comrades to evacuate the stricken Marine to a safe position. Succumbing to his wounds before aid could reach him, Sergeant Matthews, by his indomitable fighting spirit, courageous initiative and resolute determination in the face of almost certain death, served to inspire all who observed him and was directly instrumental in saving the life of his wounded comrade. His great personal valor reflects the highest credit upon himself and enhances the finest traditions of the United States Naval Service. He gallantly gave his life for his country.

Paragraph 16: For conspicuous gallantry and intrepidity at the risk of his life above and beyond the call of duty while serving as a Squad Leader of Company F, Second Battalion, Seventh Marines, First Marine Division (Reinforced), in action against enemy aggressor forces in Korea on March 28, 1953. Participating in a counterattack against a firmly entrenched and well-concealed hostile force which had repelled six previous assaults on a vital enemy-held outpost far forward of the main line of resistance, Sergeant Matthews fearlessly advanced in the attack until his squad was pinned down by a murderous sweep of fire from an enemy machine gun located on the peak of the outpost. Observing that the deadly fire prevented a corpsman from removing a wounded man lying in an open area fully exposed to the brunt of the devastating gunfire, he worked his way to the base of the hostile machine-gun emplacement, leaped onto the rock fortification surrounding the gun and, taking the enemy by complete surprise, single-handedly charged the hostile emplacement with his rifle. Although severely wounded when the enemy brought a withering hail of fire to bear upon him, he gallantly continued his valiant one-man assault and, firing his rifle with deadly effectiveness, succeeded in killing two of the enemy, routing a third and completely silencing the enemy weapon, thereby enabling his comrades to evacuate the stricken Marine to a safe position. Succumbing to his wounds before aid could reach him, Sergeant Matthews, by his indomitable fighting spirit, courageous initiative and resolute determination in the face of almost certain death, served to inspire all who observed him and was directly instrumental in saving the life of his wounded comrade. His great personal valor reflects the highest credit upon himself and enhances the finest traditions of the United States Naval Service. He gallantly gave his life for his country.

Paragraph 17: Back at the Reebok Stadium against Huddersfield Town after an international break and two away matches, Bolton failed to capitalise on their previous home win against Millwall, falling to Oliver Norwood's second strike in two games, beating Andy Lonergan from 30 yards. In an attempt to bounce back from the two consecutive defeats, Dougie Freedman made five changes from the team that fell at home to Huddersfield Town. André Moritz, who retained his place from the previous game, set up Joe Mason to score on his full debut before scoring himself from long range. Neil Danns wrapped things up in second half stoppage time to push Bolton back up to 15th place. Bolton faced Wigan on 15 December at the DW Stadium. As ex-Bolton manager Owen Coyle had been sacked by Wigan in the week preceding the match, new manager we Rösler]] was looking to win in his first home game. Wigan were 2–0 up at half-time. They opened the scoring when Matt Mills was adjudged to have handled the ball in the box and Ben Watson subsequently dispatched the resulting penalty, before on-loan Nick Powell scored on 25 minutes. Bolton levelled 20 minutes after the break, their first goal coming four minutes after the restart, Neil Danns scoring his third goal for the club and the second came when Lee Chung-Yong was kicked in the penalty area, giving André Moritz the chance to put away the spot-kick for his third. However, just four minutes later, Wigan restored their lead through Callum McManaman to send Bolton home with no points. Bolton entered Christmas in 18th place thanks to a 1–1 draw with Charlton Athletic at the Reebok Stadium. They fell behind to a goal from Yann Kermorgant before equalising with Kevin McNaughton's first goal since 2008. Bolton won against Barnsley on Boxing Day, with Neil Danns scoring in the last game of his loan spell, as he was unable to play against Leicester City, his parent club, that weekend. Bolton's final game of the year was a thrilling affair with eight goals being shared between the two sides. Bolton finished on the wrong end of the scoreline; with Leicester winning 5–3. Leicester took the lead through former United player Danny Drinkwater before goals from André Moritz and Jermaine Beckford turned the tie in Bolton's favour. Leicester equalised when Anthony Knockaert scored but Moritz scored his second just a few minutes later. Leicester equalised a second time when Tim Ream deflected into his own net just before half-time. Leicester scored two more in the second half; Lloyd Dyer and Gary Taylor-Fletcher earning the three points for Leicester.

Paragraph 18: The sacrifices of God are a broken spirit;a broken and a contrite heart, O God, Thou wilt not despise.Verse 19 in the Hebrew (verse 17 in many modern English translations) suggests that God desires a "broken and contrite heart" more than he does sacrificial offerings. The idea of using brokenheartedness as a way to reconnect to God was emphasized in numerous teachings by Rebbe Nachman of Breslov. In Sichot HaRan #41 he taught: "It would be very good to be brokenhearted all day. But for the average person, this can easily degenerate into depression. You should therefore set aside some time each day for heartbreak. You should isolate yourself with a broken heart before God for a given time. But the rest of the day you should be joyful".

Paragraph 19: Now. Here. This. takes place in a natural history museum. The show follows the adventures and evolution of four friends as they journey through time--from the present day museum, to the past, and back again. Along the way, the \exhibits inspire them to share stories from their lives. The action begins with a Big Bang. The opening number (What Are the Odds) tracks the evolution of the human race, all the way up to the moment when the foursome arrive at this very moment in time, on this stage, at this theatre, in front of this audience. Naturally, the discussion turns to the teaching of Trappist monk Thomas Merton, "because nothing says musical theatre like a discussion about a Trappist monk." Merton asked folks to keep in mind three words: Now (not the past or the future), Here (exactly where you are), and This (whatever it is you're doing). Merton believed that if you can get to the intersection of these three things ("Now. Here. This.), then you will be truly present to experience "more life." The scene shifts to a planetarium exhibit in the museum, and the foursome ponder life's big and small questions, each expressing their desire for things that they hope will bring them happiness: more stuff, more love, more magic dogs named "Mr. Winston Sparkles" (More Life). The group decides to divide and conquer the museum in search of more life and the Now. Here. This. As they explore, exhibits begin to trigger memories and stories. At the deep sea exhibit, Jeff relives his experience performing at his middle school's Pancake Supper where she slays the audience with a mean Ed Grimley impersonation, and discovers his ability to cloak his true self from unwanted scrutiny (Dazzle Camouflage). For Heidi, it's recollections of childhood attention-seeking in the Hall of Birds (Give Me Your Attention). Hunter escapes into his familiar fantasy world while staring at a turtle display, imagining good times with his superdeluxe fantasy boyfriend (Archer), and at the bee exhibit, Susan recognizes herself as the busy bee who over-schedules her life with activities to distract from the discomfort of growing up in an unusual house (I Rarely Schedule Nothing). As their memories and stories grow into a chaotic (Cacophony), they all begin to understand the obstacles that stand between them and the Now. Here. This. The four then regroup in the Hall of Human Origins. Native garments and rituals ignite adolescent hopes of the perfect garment that will bring happiness and popularity (Members Only). Susan and Heidi sing about two kinds of lives with two different sets of struggles (That'll Never Be Me). Jeff recalls the regret of missing out on real college friends and fun because he was afraid to reveal his true self (Kick Me). The four friends continue to explore the museum and come across information about Aboriginal family trees and tribes. The gang sings in celebration of having found each other--their chosen tribe--out of all the people in the world (Then Comes You). A museum exhibit about the measurement of time inspires them to sing about an afternoon boat ride that seemed to last a millennium (The Amazing Adventures of the "Doc" Wilbert S. Pound). In (That Makes Me Hot) they exchange stories about moments when they found themselves in the 'Now. Here. This. Susan shares the myth of the ("Golden Palace"), a faraway place where only the privileged few are granted admission. In (Get Into It) we experience Hunter's fantasy world from the inside and the outside. Heidi struggles with rules and expectations determined long ago, eventually realizing that she can now define her own rules and choose her own adventure (This Time). After a full day at the museum, the ("Finale") exhorts the audience leave the museum of the past, to consciously step directly into the Now. Here. This. and ultimately experience more life.

Paragraph 20: "For conspicuous gallantry and intrepidity at the risk of his life above and beyond the call of duty as a platoon commander with the 3rd Force Reconnaissance Company. While on a long-range reconnaissance mission, 2d Lt. Graves' eight-man patrol observed seven enemy soldiers approaching their position. Reacting instantly, he deployed his men and directed their fire on the approaching enemy. After the fire had ceased, he and two patrol members commenced a search of the area, and suddenly came under a heavy volume of hostile small arms and automatic weapons fire from a numerically superior enemy force. When one of his men was hit by the enemy fire, 2d Lt. Graves moved through the fire-swept area to his radio and, while directing suppressive fire from his men, requested air support and adjusted a heavy volume of artillery and helicopter gunship fire upon the enemy. After attending the wounded, 2d Lt. Graves, accompanied by another Marine, moved from his relatively safe position to confirm the results of the earlier engagement. Observing that several of the enemy were still alive, he launched a determined assault, eliminating the remaining enemy troops. He then began moving the patrol to a landing zone for extraction, when the unit again came under intense fire which wounded two more Marines and 2d Lt. Graves. Refusing medical attention, he once more adjusted air strikes and artillery fire upon the enemy while directing the fire of his men. He led his men to a new landing site into which he skillfully guided the incoming aircraft and boarded his men while remaining exposed to the hostile fire. Realizing that one of the wounded had not embarked, he directed the aircraft to depart and, along with another Marine, moved to the side of the casualty. Confronted with a shortage of ammunition, 2d Lt. Graves utilized supporting arms and directed fire until a second helicopter arrived. At this point, the volume of enemy fire intensified, hitting the helicopter and causing it to crash shortly after liftoff. All aboard were killed. 2d Lt. Graves' outstanding courage, superb leadership and indomitable fighting spirit throughout the day were in keeping with the highest traditions of the Marine Corps and the United States Navy. He gallantly gave his life for his country."

Paragraph 21: US 25, US 301, and SR 73 immediately curve back to the north-northwest and cross over Scott Creek. After curving back to the north-northeast, they pass Nevils Pond. They curve back to the north-northwest and have an interchange with Interstate 16 (I-16; Jim Gillis Highway). The concurrency becomes known as Jones Lane Memorial Highway. The three highways curve back to the north-northeast and then intersect SR 46. After curving to the northeast, they cross over Lotts Creek and then begin paralleling some railroad tracks of Norfolk Southern Railway (NS). They pass East Georgia State College's Statesboro campus, a Georgia State Patrol post, and Ogeechee Technical College just before entering Statesboro. Immediately after entering the city limits, they intersect SR 67 Byp., as well as the southern terminus of US 25 Byp., US 301 Byp., and SR 73 Byp. (Veterans Memorial Parkway). They intersect the eastern terminus of Rucker Lane and the western terminus of Old Register Road, the latter of which leads to Georgia Southern University (GSU). A short distance later, they meet the northern terminus of Parrish Drive, which also leads to GSU. Just before the intersection with the southern terminus of Azalea Drive, the three highways curve to the north-northeast. At this intersection, they begin paralleling the eastern edge of W. Jones Lane Memorial Park. They intersect the northern terminus of Southern Drive, which is the last access road for GSU. They cross over Beautiful Eagle Creek and then intersect Tillman Road. Here, they leave the memorial park and enter downtown Statesboro. They cross over Little Lotts Creek and then over the NS railroad line they were paralleling. Then, they intersect SR 67 (Fair Road), which joins the concurrency. The four highways intersect Grady Street, which leads to the city's police and fire departments. Just north of this intersection, they pass the Statesboro–Bulloch County Library. An intersection with the eastern terminus of Bulloch Street leads to the Statesboro–Bulloch County Recycling Center. An intersection with the eastern terminus of West Main Street and the western terminus of East Main Street leads to Averitt Arts Center. On the northeastern corner of this intersection is the Bulloch County Courthouse. Just south of an intersection with the eastern terminus of Elm Street, the concurrency curves to the north-northwest. They intersect US 80/SR 26 (Northside Drive). Here, US 25 and SR 67 depart the concurrency to the left. At an intersection with Parrish Street, US 301 and SR 73 turn right and travel to the east-northeast and make a very gradual curve to the northeast. Just before an intersection with the southern terminus of Mathews Road, they cross over the NS railroad line. They intersect the northern terminus of US 301 Byp./SR 73 Byp. (Veterans Memorial Parkway), which leads to Willingway Hospital. This intersection is immediately before the highways leave Statesboro. They cross over Mill Creek then curve to the north-northeast. They intersect the eastern terminus of Holland Industrial Park and the western terminus of Statesboro Airport Road, the latter of which leads to Statesboro–Bulloch County Airport. They travel through rural areas of the county and cross over the Ogeechee River and enter Screven County.

Paragraph 22: Hande Yener's first studio album Senden İbaret was produced by Ercan Saatçi and released by DMC on 31 May 2000. Thus Yener became the first female vocalist introduced to the market by DMC. The album's preparations lasted for a year, and its songs were written by Altan Çetin. Yener described the album's style as "neither Western nor Arabesque, just Turkish pop". Various Turkish newspapers started making predictions about the outcome of her collaboration with Altan Çetin, a well-known songwriter who had previously worked with İzel. Columnists said that Yener would "sit on İzel's throne", in response to which Yener said that she was different from İzel. Yener also made it clear that the album was initially meant to be prepared for İzel, but after she got into troubles with DMC, the original project was set aside. Senden İbarets lead single "Yalanın Batsın", became the first song for which a music video was released. The song became a hit inside Turkey in summer 2000 and successfully topped the music charts. Yener herself was surprised with the outcome saying: "I believed that I would succeed. But I was really surprised and immensely happy with the rapid development of everything." Hürriyet wrote that Yener had made a great debut and named her as one of the shining stars of the year. Following the release of a music video for "Yalanın Batsın", separate clips were also released for "Bunun Adı Ayrılık" and "Yoksa Mani". Yener was put in danger of freezing while filming the music video for "Bunun Adı Ayrılık". In 2000, she won the Best Newcomer award at the Golden Butterfly Awards, and the music video for "Yalanın Batsın" was awarded with the Best Music Video award together with Candan Erçetin's music video for "Elbette". At the award ceremony organized by Akademik Bakış magazine and later at the 2001 Kral TV Video Music Awards, Yener received the Best Female Newcomer award. Magazin Journalists Association chose her as the Promising Female Singer. Yener also appeared in the album Türk Marşları, prepared by Gendarmerie General Command together with Turkish pop singers and released at the end of 2000. She performed the song "Biz Atatürk Gençleriyiz" in the album. For her first EP, Extra, which was released in 2001, she included new versions of the songs from her first studio album Senden İbaret. Meanwhile, she made a guest appearance in one of the episodes of Show TV's series Dadı.

Paragraph 23: In 1994, Newman moved to ABC News in the United States, where he anchored ABC World News Now until 1996.  He also anchored ABC World News This Morning, and served as a correspondent for World News Tonight. In June 1997, ABC News assigned Newman as newsreader of Good Morning America after the departure of Elizabeth Vargas. In May 1998, he was named co-anchor, with Lisa McRee, of Good Morning America. The show, which had been struggling in the ratings, continued to perform poorly, and both McRee and Newman were reassigned in January 1999 to other reporting duties within ABC, with Newman becoming a correspondent for Nightline and as a substitute anchor for Peter Jennings and Carole Simpson on both the weeknight and Sunday editions of World News Tonight.  Newman anchored breaking news coverage of the death of Diana, Princess of Wales.

Paragraph 24: The mathematical expression of the law can be derived as following. Electrical conduction of metals is a well-known phenomenon and is attributed to the free conduction electrons, which can be measured as sketched in the figure. The current density j is observed to be proportional to the applied electric field and follows Ohm's law where the prefactor is the specific electrical conductivity. Since the electric field and the current density are vectors Ohm's law is expressed here in bold face. The conductivity can in general be expressed as a tensor of the second rank (3×3 matrix). Here we restrict the discussion to isotropic, i.e. scalar conductivity. The specific resistivity is the inverse of the conductivity. Both parameters will be used in the following.

Paragraph 25: Czajkowski was born in Modlin and started fencing at the age of 14, while in high school. The outbreak of the Second World War interrupted his fencing career as, immediately after his graduation in 1939, he enlisted in the Polish Navy to fight the Nazis. In September 1939, Czajkowski, along with four other Polish sailors, was captured by the Soviet army and sent for interrogation to the city of Kobryn. He was fortunate to avoid execution as the commissar in Kobryn was not interested in Czajkowski and sent him home. Czajkowski then made his way back to the Soviet controlled Lwów and, while waiting to be allowed to cross the Romanian border to rejoin the Polish forces in France, continued his fencing training. In April 1940, while on his way to the border, Czajkowski was again arrested by Soviet soldiers and this time spent over a year in various Soviet prisons, being interrogated and tortured. He was then sent to the Soviet labor camp in Vorkuta, beyond the polar circle where he survived extremely harsh conditions until, in September 1941, the new head of the labor camp decided to free him. During all his time as a Soviet prisoner, one of Czajkowski's main diversions was to hold a wooden spoon in his hand as though it were a sabre and "practice" fencing - visualizing himself engaged in his favorite activity as a distraction from the hardships of his imprisonment. After being freed from Vorkuta, Czajkowski spent weeks making his way to Uzbekistan, where he stayed for several months working on cotton and rice plantations. Before leaving, he also spent some time coaching fencing. On February 5, 1942, his birthday, Czajkowski rejoined the Polish Navy. He eventually was stationed in Great Britain, at the Polish Naval Station in Plymouth. Soon after D-Day, Czajkowski received leave from the Navy and began studying medicine at the University of Edinburgh in Scotland. He fenced for the Edinburgh University fencing club and the Scottish Fencing Club. He also began to do some amateur coaching for the Polish Students Association in Great Britain. His son was born in Edinburgh 1 December 1945.

Paragraph 26: The Mailers Trade District Union (MTDU) was an internal part of the ITU. Lawsuits from 1926–1944 were fought for mailer rights. The MTDU was eventually abolished by court injunction and referendum vote. In 1929, ITU president Charles P. Howard selected third vice-president C. N. Smith (a printer) to represent the MTDU. The mailers were allowed to vote in 1930 for their MTDU representative; John Mc Ardle and Harold Mitchell served in 1934. Munro Roberts was elected as MTDU member of the executive council, (1935–1937) but he had no voice or vote. After many heated arguments with ITU President Howard and Secretary Randolph, Roberts became committed to a separate mailer union. Moreover, the International Mailers' Union (IMU), was created and many shops would have two boards, ITU and IMU. With the departure of Roberts, Thomas J. Martin represented the MTDU (1938–1944). The MTDU continued by court order; however, the mailers were again without an observer to the executive council. The 1947 Cleveland convention paved the way for the demise of the MTDU and the election of a mailer to the executive council. Joe Bailey (San Francisco–Oakland Mailers #M-18), was elected third vice-president before the 1948 Milwaukee convention. ITU President Woodruff Randolph saw a way to appease mailers returning after service in World War II. The agreement made between ITU President Randolph and Joe Bailey: only a Printer would ever be president, first and second Vice-President or Secretary-Treasurer of the ITU. The position of third Vice-President would be held only by a Mailer. The IMU lost much power to draw new membership. The IMU finally was finally fully merged into the ITU only in 1982, only five years before the union's demise. Joe Bailey served on the ITU executive council until 1973. A mailer would remain ITU third vice-president: Robert F. Ameln, (1974–1975) and the Canadian mailer, Allen J. Heritage, (1976–1986).

Paragraph 27: In 1994, Newman moved to ABC News in the United States, where he anchored ABC World News Now until 1996.  He also anchored ABC World News This Morning, and served as a correspondent for World News Tonight. In June 1997, ABC News assigned Newman as newsreader of Good Morning America after the departure of Elizabeth Vargas. In May 1998, he was named co-anchor, with Lisa McRee, of Good Morning America. The show, which had been struggling in the ratings, continued to perform poorly, and both McRee and Newman were reassigned in January 1999 to other reporting duties within ABC, with Newman becoming a correspondent for Nightline and as a substitute anchor for Peter Jennings and Carole Simpson on both the weeknight and Sunday editions of World News Tonight.  Newman anchored breaking news coverage of the death of Diana, Princess of Wales.

Paragraph 28: The mathematical expression of the law can be derived as following. Electrical conduction of metals is a well-known phenomenon and is attributed to the free conduction electrons, which can be measured as sketched in the figure. The current density j is observed to be proportional to the applied electric field and follows Ohm's law where the prefactor is the specific electrical conductivity. Since the electric field and the current density are vectors Ohm's law is expressed here in bold face. The conductivity can in general be expressed as a tensor of the second rank (3×3 matrix). Here we restrict the discussion to isotropic, i.e. scalar conductivity. The specific resistivity is the inverse of the conductivity. Both parameters will be used in the following.

Paragraph 29: Now. Here. This. takes place in a natural history museum. The show follows the adventures and evolution of four friends as they journey through time--from the present day museum, to the past, and back again. Along the way, the \exhibits inspire them to share stories from their lives. The action begins with a Big Bang. The opening number (What Are the Odds) tracks the evolution of the human race, all the way up to the moment when the foursome arrive at this very moment in time, on this stage, at this theatre, in front of this audience. Naturally, the discussion turns to the teaching of Trappist monk Thomas Merton, "because nothing says musical theatre like a discussion about a Trappist monk." Merton asked folks to keep in mind three words: Now (not the past or the future), Here (exactly where you are), and This (whatever it is you're doing). Merton believed that if you can get to the intersection of these three things ("Now. Here. This.), then you will be truly present to experience "more life." The scene shifts to a planetarium exhibit in the museum, and the foursome ponder life's big and small questions, each expressing their desire for things that they hope will bring them happiness: more stuff, more love, more magic dogs named "Mr. Winston Sparkles" (More Life). The group decides to divide and conquer the museum in search of more life and the Now. Here. This. As they explore, exhibits begin to trigger memories and stories. At the deep sea exhibit, Jeff relives his experience performing at his middle school's Pancake Supper where she slays the audience with a mean Ed Grimley impersonation, and discovers his ability to cloak his true self from unwanted scrutiny (Dazzle Camouflage). For Heidi, it's recollections of childhood attention-seeking in the Hall of Birds (Give Me Your Attention). Hunter escapes into his familiar fantasy world while staring at a turtle display, imagining good times with his superdeluxe fantasy boyfriend (Archer), and at the bee exhibit, Susan recognizes herself as the busy bee who over-schedules her life with activities to distract from the discomfort of growing up in an unusual house (I Rarely Schedule Nothing). As their memories and stories grow into a chaotic (Cacophony), they all begin to understand the obstacles that stand between them and the Now. Here. This. The four then regroup in the Hall of Human Origins. Native garments and rituals ignite adolescent hopes of the perfect garment that will bring happiness and popularity (Members Only). Susan and Heidi sing about two kinds of lives with two different sets of struggles (That'll Never Be Me). Jeff recalls the regret of missing out on real college friends and fun because he was afraid to reveal his true self (Kick Me). The four friends continue to explore the museum and come across information about Aboriginal family trees and tribes. The gang sings in celebration of having found each other--their chosen tribe--out of all the people in the world (Then Comes You). A museum exhibit about the measurement of time inspires them to sing about an afternoon boat ride that seemed to last a millennium (The Amazing Adventures of the "Doc" Wilbert S. Pound). In (That Makes Me Hot) they exchange stories about moments when they found themselves in the 'Now. Here. This. Susan shares the myth of the ("Golden Palace"), a faraway place where only the privileged few are granted admission. In (Get Into It) we experience Hunter's fantasy world from the inside and the outside. Heidi struggles with rules and expectations determined long ago, eventually realizing that she can now define her own rules and choose her own adventure (This Time). After a full day at the museum, the ("Finale") exhorts the audience leave the museum of the past, to consciously step directly into the Now. Here. This. and ultimately experience more life.

Paragraph 30: Live & Kicking is a British children's television series that originally aired on BBC1 from 2 October 1993 to 15 September 2001. It was the replacement for Going Live!, and took many of its features from it, such as phone-ins, games, comedy, competitions and the showing of cartoons. Once Live & Kicking had become established in series two, it reached its height in popularity during series four, when it was presented by Zoe Ball and Jamie Theakston; their final edition won a BAFTA award. After this the programme's ratings dropped with the launch of SMTV Live on ITV and the show ended in 2001.

Paragraph 31: The Naassene work known to Hippolytus would seem to have been of what we may call a devotional character rather than a formal exposition of doctrine, and this perhaps is why it is difficult to draw from the accounts left us a thoroughly consistent scheme. Thus, as we proceed, we are led to think of the first principle of nature, not as a single threefold being, but as three distinct substances; on the one hand the pre-existent, otherwise spoken of as the Good being, on the other hand the "outpoured Chaos," intermediate, between these one called Autogenes, and also the Logos. Chaos is naturally destitute of forms or qualities; neither does the preexistent being himself possess form, for though the cause of everything that comes into being, it is itself none of them, but only the seed from which they spring. The Logos is the mediator which draws forms from above and transfers them to the world below. Yet he seems to have a rival in this work; for we have reference made to a fourth being, whence or how brought into existence we are not told, a "fiery God," Esaldaios, the father of the idikos kosmos. That is to say, it was this fiery being, the same who appeared to Moses in the burning bush, who gave forms to the choical or purely material parts of nature. It is he who supplies the fiery heat of generation by which these forms are still continued. In this work the Logos had no part, for "all things were made through him, and without him was made nothing." The "nothing" that was made without him is the kosmos idikos. On the other hand, it is the Logos, who is identified with the serpent, and this again with the principle of Water, who brings down the pneumatic and psychical elements, so that through him man became a living soul. But he has now to do a greater work, namely, to provide for the release of the higher elements now enslaved under the dominion of matter, and for their restoration to the good God.

Paragraph 32: X-Men Legends was announced in a press release by Activision on April 23, 2003. The game is Raven Software's first console title; after a number of successful titles for personal computers, it wanted to expand into the console market. The company developed the three console versions simultaneously, and used Vicarious Visions' Alchemy engine as a base for the game.  After deciding to make an "X-Men RPG", staff began brainstorming story, gameplay and design ideas. Raven wanted to feature a team-based dynamic, something it felt was absent in previous X-Men games. The original concept featured turned-based gameplay, similar to a Final Fantasy game. However, the team concluded that players would prefer more action that allowed control of the character's super powers. The genre switch proved problematic to maintaining the team aspect of gameplay.

Paragraph 33: The West Midlands Special Review and subsequent West Midlands Order 1965 legislation could be defined as the first real attempt by Government, at creating a unified Black Country for administrative purposes, albeit under the county borough system. Fig 9 - demonstrates that a Proto - West Midlands County appeared to be in existence eight years before the metropolitan county was formally established, if Birmingham and Solihull were also factored in. Although not all areas of the West Midlands conurbation were incorporated into a county borough. The Local Government Act 1972 legislated for a new metropolitan administrative unit to be known as the County of West Midlands, incorporating the North West Warwickshire, South Staffordshire and North Worcestershire border area. The Act also legislated that the new county would be sub-divided into metropolitan districts, although most districts became metropolitan boroughs after being granted or regranted Royal charters giving them borough status. The West Midlands was to be largely centred on the Birmingham and Black Country county boroughs, but with a boundary roughly matching the West Midlands conurbation, as per Fig 11. However the Meriden Gap in Warwickshire was included, enabling Coventry to be incorporated into the new structure. Within this new authority; Dudley County Borough along with Stourbridge and Halesowen formed Dudley Metropolitan District (later to become Dudley Metropolitan Borough), while Warley County Borough merged with West Bromwich to create Sandwell. Most of the rural hinterland proposed by Redcliffe-Maud was discarded; thus permitting Bewdley, Bromsgrove, Kidderminster, Redditch and Stourport-on-Severn to become part of the new Hereford & Worcester authority. On 1 April 1974; (the day of local government reorganisation) an article in The Times quoted an unnamed 'Department of the Environment' official who said "The new county boundaries are solely for the purpose of defining areas of first-level government of the future: They are administrative areas and will not alter the traditional boundaries of counties, nor is it intended that the loyalties of people living in them will change" The Ministry of Housing, Communities and Local Government's guidance entitled 'Celebrating the historic counties of England' stated "The Act did not specifically abolish historic counties, but they no longer exist for the purposes of the administration of local government, although some historic county areas may be coterminous with non-metropolitan county areas established by the 1972 Act". Despite the vague reassurances from Government, the new authority was not popular. John Butcher MP (Coventry South West) said in Parliament during 1982 "The West Midlands Metropolitan County Council is as useful to local government as the appendix is to the digestive system. Its presence is unnecessary and it becomes noticeable only when it malfunctions."

Paragraph 34: The West Midlands Special Review and subsequent West Midlands Order 1965 legislation could be defined as the first real attempt by Government, at creating a unified Black Country for administrative purposes, albeit under the county borough system. Fig 9 - demonstrates that a Proto - West Midlands County appeared to be in existence eight years before the metropolitan county was formally established, if Birmingham and Solihull were also factored in. Although not all areas of the West Midlands conurbation were incorporated into a county borough. The Local Government Act 1972 legislated for a new metropolitan administrative unit to be known as the County of West Midlands, incorporating the North West Warwickshire, South Staffordshire and North Worcestershire border area. The Act also legislated that the new county would be sub-divided into metropolitan districts, although most districts became metropolitan boroughs after being granted or regranted Royal charters giving them borough status. The West Midlands was to be largely centred on the Birmingham and Black Country county boroughs, but with a boundary roughly matching the West Midlands conurbation, as per Fig 11. However the Meriden Gap in Warwickshire was included, enabling Coventry to be incorporated into the new structure. Within this new authority; Dudley County Borough along with Stourbridge and Halesowen formed Dudley Metropolitan District (later to become Dudley Metropolitan Borough), while Warley County Borough merged with West Bromwich to create Sandwell. Most of the rural hinterland proposed by Redcliffe-Maud was discarded; thus permitting Bewdley, Bromsgrove, Kidderminster, Redditch and Stourport-on-Severn to become part of the new Hereford & Worcester authority. On 1 April 1974; (the day of local government reorganisation) an article in The Times quoted an unnamed 'Department of the Environment' official who said "The new county boundaries are solely for the purpose of defining areas of first-level government of the future: They are administrative areas and will not alter the traditional boundaries of counties, nor is it intended that the loyalties of people living in them will change" The Ministry of Housing, Communities and Local Government's guidance entitled 'Celebrating the historic counties of England' stated "The Act did not specifically abolish historic counties, but they no longer exist for the purposes of the administration of local government, although some historic county areas may be coterminous with non-metropolitan county areas established by the 1972 Act". Despite the vague reassurances from Government, the new authority was not popular. John Butcher MP (Coventry South West) said in Parliament during 1982 "The West Midlands Metropolitan County Council is as useful to local government as the appendix is to the digestive system. Its presence is unnecessary and it becomes noticeable only when it malfunctions."

Paragraph 35: Gofraid mac Fergusa is noted twice by the Annals of the Four Masters. One entry is dated 834. Although the other is dated 851, this entry appears lumped together with entries corresponding to events dated to 853 in other sources. The first entry identifies Gofraid mac Fergusa as a chieftain of the Airgíalla, and states that he went to Alba to support Dál Riata, at the behest of Cináed mac Ailpín (died 858). The second entry styles Gofraid mac Fergusa chief of  whilst reporting his death. There are several reasons to doubt the historical accuracy of these annal-entries. For example, the name  is a Gaelic form of an Old Norse name, whilst the name  is Gaelic. Although these names could be indicative of mixed ancestry of a bearer, the early ninth century seems to be extremely early for such intermingling amongst the upper classes, especially for an alleged leading member of the Airgíalla, a population group located in north-central Ireland. In fact, the name  is not attested amongst the Irish or Norse in any uninterpolated Irish source for the ninth century. Certainly, a Gofraid son of Fergus is otherwise unrecorded amongst the Airgíalla, nor is such a figure otherwise attested by any contemporary or near-contemporary source. Furthermore, there is no contemporary or near-contemporary record of Cináed ruling before 842, and it is not until the late thirteenth century when a source—the Chronicle of Huntingdon—erroneously dates the outset of his reign to 834. This particular miscalculation was further propagated in the late fourteenth century by the influential Chronica gentis Scotorum of John Fordun (died 1363). Another issue concerning the entries is the fact that the term  ("the Islands of the Foreigners") is an anachronism during for the period in question, and is otherwise first attested by an historical source in the tenth century.

Paragraph 36: The West Midlands Special Review and subsequent West Midlands Order 1965 legislation could be defined as the first real attempt by Government, at creating a unified Black Country for administrative purposes, albeit under the county borough system. Fig 9 - demonstrates that a Proto - West Midlands County appeared to be in existence eight years before the metropolitan county was formally established, if Birmingham and Solihull were also factored in. Although not all areas of the West Midlands conurbation were incorporated into a county borough. The Local Government Act 1972 legislated for a new metropolitan administrative unit to be known as the County of West Midlands, incorporating the North West Warwickshire, South Staffordshire and North Worcestershire border area. The Act also legislated that the new county would be sub-divided into metropolitan districts, although most districts became metropolitan boroughs after being granted or regranted Royal charters giving them borough status. The West Midlands was to be largely centred on the Birmingham and Black Country county boroughs, but with a boundary roughly matching the West Midlands conurbation, as per Fig 11. However the Meriden Gap in Warwickshire was included, enabling Coventry to be incorporated into the new structure. Within this new authority; Dudley County Borough along with Stourbridge and Halesowen formed Dudley Metropolitan District (later to become Dudley Metropolitan Borough), while Warley County Borough merged with West Bromwich to create Sandwell. Most of the rural hinterland proposed by Redcliffe-Maud was discarded; thus permitting Bewdley, Bromsgrove, Kidderminster, Redditch and Stourport-on-Severn to become part of the new Hereford & Worcester authority. On 1 April 1974; (the day of local government reorganisation) an article in The Times quoted an unnamed 'Department of the Environment' official who said "The new county boundaries are solely for the purpose of defining areas of first-level government of the future: They are administrative areas and will not alter the traditional boundaries of counties, nor is it intended that the loyalties of people living in them will change" The Ministry of Housing, Communities and Local Government's guidance entitled 'Celebrating the historic counties of England' stated "The Act did not specifically abolish historic counties, but they no longer exist for the purposes of the administration of local government, although some historic county areas may be coterminous with non-metropolitan county areas established by the 1972 Act". Despite the vague reassurances from Government, the new authority was not popular. John Butcher MP (Coventry South West) said in Parliament during 1982 "The West Midlands Metropolitan County Council is as useful to local government as the appendix is to the digestive system. Its presence is unnecessary and it becomes noticeable only when it malfunctions."

Paragraph 37:  Studio albums Wa Fatimatah (O Fatima) (1993) [Um al-Banin Foundation]Wa Tabqa Lana (It Remains For Us) (2000) [Um al-Banin Foundation]Ya Hussain (O' Husayn) (2002) [Karbala Records]Labayk Ya Husayn (Here We Are O' Husayn) (2003) [Karbala Records]al-Razaya (The Tragedies) (2003) [Karbala  Records]al-Imam al-Hassan al-Masmoom (Imam Hassan the Poisoned) [Fadak Records]al-Zahra Fi Karbala (Zahra in Karbala) (2004) [Karbala  Records]Al-Adl al-Samawi (Justice of the Skies) (2004) [Aniss al-Nofoss]Ya Fatima (O' Fatima) (2004) [Karbala  Records]Bintu Muhammad (Muhammad's Daughter) (2004) [al-Thaqalayn Records]Wali Allah (Guardian of Allah) (2004) [al-Thaqalayn Records]Awdat al-Sabaya (Return of the Captives) (2004) [Karbala Records]Nowh Iw Dami (Wails and Tears) (2004) [al-Thaqalayn Records]Karbala (2005) [Karbala Records]Mata al-Multaqa (When Is The Meeting) (2005) [al-Thaqalayn Records]Uqsuduni (Come to Me) (2005) [Karbala  Records]Baad Ma Ashufak (I Will Not See You Again) (2006) [Anwar al-Huda Records]Wahi al-Qawafi (Soul of the Words) (2006) [al-Thaqalayn Records]Qaws al-Sama' (Bow of the Sky) (2006) [Karbala Records]Ya Bab Fatima (O' Door of Fatima) (2006) [Karbala Records]Usali Alayka (I Pray Upon You) (2007) [al-Hayat Media]Kalim al-Husayn (He Who Speaks to Husayn) (2007) [Thulfqiar Centre]Sawad al-Layl (The Darkness of the Night) (2007) [al-Faqih Library]Wujudun Li Wujudi (Presence To My Presence) (2007) [ِAnwar al-Huda]Sarab (Oasis) (2007) [al-Thaqalayn Records]Lahn al-Dima (The Melody of Blood) (2008) [al-Hayat Media]Lil Bukaa Baqiya (There Is Still Time To Mourn) (January, 2008) [al-Hayat Media]Kahf al-Wara (The Cave of the World) (January, 2008) [al-Thaqalayn Records]Sawt al-Rayah (The Voice of the Banner) (February, 2008) [al-Raya al-Imamiya]Bani Hashim (January, 2009) [al-Thaqalayn Records]Ayat al-Sabr (Verse of Patience) (January, 2009) [Anwar al-Huda)al-Mahkamah (The Court) (February, 2009) [al-Raya al-Imamiya]Shajar al-Arak (Tree of Arak) (December, 2009) [al-Faqih Library]Inaha Taqool (She Says) (December, 2009) [BK Media]Qul Ma Tasha (Say What You Like) (December, 2010) [al-Thaqalayn Records]Ra'ayt al-Husayn (I Saw Husayn) (December, 2010) [Anwar al-Huda]Uthama (Greats) (June, 2010) [Thulfiqar Centre]Tezuruni (You Visit Me) (January, 2011) [Karbala Records]Shams (Sun) (November, 2011) [al-Ahrar Media]Laka Antami (I Belong To You) (November, 2011) [ِAnwar al-Huda]Yisajelny (He Registers Me) (December, 2011) [BK Media]Majaninak (Your Insanes) (November, 2012) [BK Media]Kuntu Wala Zilt (I Was, And Remain) (November, 2012) [BK Media]Uthama 2 (Greats 2) (July, 2013) [Thulfiqar Centre]Hathihi al-Hikaya (This Story) (November, 2013) [BK Media]Tilka al-Sarkha (That Scream) (November, 2013) [BK Media]Qaedona al-Husayn (Our Leader is Husayn) (October, 2014) [BK Media]Salla al-Mawt (Death Prayed) (October, 2014) [BK Media]Maat al-Maa (Water is Dead) (October, 2015) [BK Media]Yawm al-Arbaeen (The Day of Arbaeen) (November, 2015) [BK Media]Banat al-Nabi (Daughters of the Prophet) (September, 2016) [BK Media]Basim (September, 2017) [BK Media]1440 (September , 2018) [BK Media]1443 (July , 2021) [BK Media]1444 (July , 2022) [BK Media]

Paragraph 38: Back at the Reebok Stadium against Huddersfield Town after an international break and two away matches, Bolton failed to capitalise on their previous home win against Millwall, falling to Oliver Norwood's second strike in two games, beating Andy Lonergan from 30 yards. In an attempt to bounce back from the two consecutive defeats, Dougie Freedman made five changes from the team that fell at home to Huddersfield Town. André Moritz, who retained his place from the previous game, set up Joe Mason to score on his full debut before scoring himself from long range. Neil Danns wrapped things up in second half stoppage time to push Bolton back up to 15th place. Bolton faced Wigan on 15 December at the DW Stadium. As ex-Bolton manager Owen Coyle had been sacked by Wigan in the week preceding the match, new manager we Rösler]] was looking to win in his first home game. Wigan were 2–0 up at half-time. They opened the scoring when Matt Mills was adjudged to have handled the ball in the box and Ben Watson subsequently dispatched the resulting penalty, before on-loan Nick Powell scored on 25 minutes. Bolton levelled 20 minutes after the break, their first goal coming four minutes after the restart, Neil Danns scoring his third goal for the club and the second came when Lee Chung-Yong was kicked in the penalty area, giving André Moritz the chance to put away the spot-kick for his third. However, just four minutes later, Wigan restored their lead through Callum McManaman to send Bolton home with no points. Bolton entered Christmas in 18th place thanks to a 1–1 draw with Charlton Athletic at the Reebok Stadium. They fell behind to a goal from Yann Kermorgant before equalising with Kevin McNaughton's first goal since 2008. Bolton won against Barnsley on Boxing Day, with Neil Danns scoring in the last game of his loan spell, as he was unable to play against Leicester City, his parent club, that weekend. Bolton's final game of the year was a thrilling affair with eight goals being shared between the two sides. Bolton finished on the wrong end of the scoreline; with Leicester winning 5–3. Leicester took the lead through former United player Danny Drinkwater before goals from André Moritz and Jermaine Beckford turned the tie in Bolton's favour. Leicester equalised when Anthony Knockaert scored but Moritz scored his second just a few minutes later. Leicester equalised a second time when Tim Ream deflected into his own net just before half-time. Leicester scored two more in the second half; Lloyd Dyer and Gary Taylor-Fletcher earning the three points for Leicester.

Paragraph 39: In 1992, Vampiro would be part of multiple hair vs hair matches. The first of which would be on March 21 defeating Bestia Negra II. Throughout the months Vampiro would beat Rick Patterson, Pirata Morgan, Aaron Grundy and Sangre Chicana in hair vs hair matches. In late 1992, Vampiro participated in the CMLL World Heavyweight Championship tournament and reached the semi-final before being defeated by Black Magic. In early 1993, Vampiro would team up with Pierroth Jr. to take part in the CMLL World Tag Team Championship tournament and progressed to the final where the two would take on Dr. Wagner Jr. and El Canek in a best two out of three falls match. Going into the last match between the two teams where drawing with one win each,  Dr. Wagner Jr. and El Canek would win the last match and therefore the vacant CMLL World Tag Team Championship. In the first round of the Gran Prix 1994 he lost to Yamato. In mid to late 1994, Vampiro would begin to team up with Pegasus Kid, along with El Rayo de Jalisco Jr, in the final of the Trios Tournament. The trio would lose to El Dandy, El Texano and Silver King. Vampiro and Pegasus Kid later fell to El Texano and Silver King in the quarterfinals of the CMLL World Tag Team Championship number one contendership tournament. Vampiro would go on to team up with Apolo Dantés and lost to Dr. Wagner Jr. & Pierroth Jr. in the semi-final of the CMLL World Tag Team Championship number two contendership tournament. In July 1995, Vampiro reached the final of the Gran Prix 1995 before being defeated by Headhunter A. In what was perhaps the biggest match of his career to this point, he took on Apolo Dantes in a best out of three falls match for the CMLL World Heavyweight Championship. In 1996, Vampiro would leave CMLL to join other top Mexican promotions such as International Wrestling Revolution Group (IWRG), Lucha Libre AAA World Wide (AAA) and Promo Azteca (AZTECAS). However, in 1998 he would return to CMLL and would take part in the CMLL World Trios Championship tournament and Gran Prix 1998, ultimately winning neither. His last match for CMLL for many years would take place on December 11, 1998.

Paragraph 40: X-Men Legends was announced in a press release by Activision on April 23, 2003. The game is Raven Software's first console title; after a number of successful titles for personal computers, it wanted to expand into the console market. The company developed the three console versions simultaneously, and used Vicarious Visions' Alchemy engine as a base for the game.  After deciding to make an "X-Men RPG", staff began brainstorming story, gameplay and design ideas. Raven wanted to feature a team-based dynamic, something it felt was absent in previous X-Men games. The original concept featured turned-based gameplay, similar to a Final Fantasy game. However, the team concluded that players would prefer more action that allowed control of the character's super powers. The genre switch proved problematic to maintaining the team aspect of gameplay.

Paragraph 41: In 1992, Vampiro would be part of multiple hair vs hair matches. The first of which would be on March 21 defeating Bestia Negra II. Throughout the months Vampiro would beat Rick Patterson, Pirata Morgan, Aaron Grundy and Sangre Chicana in hair vs hair matches. In late 1992, Vampiro participated in the CMLL World Heavyweight Championship tournament and reached the semi-final before being defeated by Black Magic. In early 1993, Vampiro would team up with Pierroth Jr. to take part in the CMLL World Tag Team Championship tournament and progressed to the final where the two would take on Dr. Wagner Jr. and El Canek in a best two out of three falls match. Going into the last match between the two teams where drawing with one win each,  Dr. Wagner Jr. and El Canek would win the last match and therefore the vacant CMLL World Tag Team Championship. In the first round of the Gran Prix 1994 he lost to Yamato. In mid to late 1994, Vampiro would begin to team up with Pegasus Kid, along with El Rayo de Jalisco Jr, in the final of the Trios Tournament. The trio would lose to El Dandy, El Texano and Silver King. Vampiro and Pegasus Kid later fell to El Texano and Silver King in the quarterfinals of the CMLL World Tag Team Championship number one contendership tournament. Vampiro would go on to team up with Apolo Dantés and lost to Dr. Wagner Jr. & Pierroth Jr. in the semi-final of the CMLL World Tag Team Championship number two contendership tournament. In July 1995, Vampiro reached the final of the Gran Prix 1995 before being defeated by Headhunter A. In what was perhaps the biggest match of his career to this point, he took on Apolo Dantes in a best out of three falls match for the CMLL World Heavyweight Championship. In 1996, Vampiro would leave CMLL to join other top Mexican promotions such as International Wrestling Revolution Group (IWRG), Lucha Libre AAA World Wide (AAA) and Promo Azteca (AZTECAS). However, in 1998 he would return to CMLL and would take part in the CMLL World Trios Championship tournament and Gran Prix 1998, ultimately winning neither. His last match for CMLL for many years would take place on December 11, 1998.

Paragraph 42: For conspicuous gallantry and intrepidity at the risk of his life above and beyond the call of duty while serving as a Squad Leader of Company F, Second Battalion, Seventh Marines, First Marine Division (Reinforced), in action against enemy aggressor forces in Korea on March 28, 1953. Participating in a counterattack against a firmly entrenched and well-concealed hostile force which had repelled six previous assaults on a vital enemy-held outpost far forward of the main line of resistance, Sergeant Matthews fearlessly advanced in the attack until his squad was pinned down by a murderous sweep of fire from an enemy machine gun located on the peak of the outpost. Observing that the deadly fire prevented a corpsman from removing a wounded man lying in an open area fully exposed to the brunt of the devastating gunfire, he worked his way to the base of the hostile machine-gun emplacement, leaped onto the rock fortification surrounding the gun and, taking the enemy by complete surprise, single-handedly charged the hostile emplacement with his rifle. Although severely wounded when the enemy brought a withering hail of fire to bear upon him, he gallantly continued his valiant one-man assault and, firing his rifle with deadly effectiveness, succeeded in killing two of the enemy, routing a third and completely silencing the enemy weapon, thereby enabling his comrades to evacuate the stricken Marine to a safe position. Succumbing to his wounds before aid could reach him, Sergeant Matthews, by his indomitable fighting spirit, courageous initiative and resolute determination in the face of almost certain death, served to inspire all who observed him and was directly instrumental in saving the life of his wounded comrade. His great personal valor reflects the highest credit upon himself and enhances the finest traditions of the United States Naval Service. He gallantly gave his life for his country.

Paragraph 43: In 2005, Les dumped Chesney on the Croppers to jet off to Spain for six weeks, upon his return he expressed. They came back, but Chesney said he hated it at home and wanted to go back to the Croppers. The couple then decided to get married for the "luxurious" presents they would receive from their guests. Les’ dream came true when his favourite band, Status Quo, popped into the Rovers after a concert in the area. As he approached the band with records for them to sign, they, in turn, thumped him (as they recognised him as the lunatic who jumped on stage at a concert some twenty years previous, causing a permanent neck injury to lead singer Francis Rossi). He didn't lose his faith in the Quo though, and didn't anticipate that they would soon meet again. Cilla quickly smelt a way to make money from this and told a reluctant Les to contact his solicitor in regards to suing the band for assault. In order to avoid the bad publicity, the band were eager to settle the case with Les quickly and quietly, but Cilla's dreams of riches were quickly dashed when accepting a cash offer, settled for the band to play at the wedding reception. On her hen night, Cilla found a younger bloke on her last night of freedom, but was interrupted by a drunk Les coming home, and she passed the man off as her older son, Billy, who had turned up for the wedding. but Les was too drunk to say anything and fell asleep, while the man ran off in disgust. The real Billy turned up on the morning of her wedding day, but told Les, who was baffled upon realising that the two men were different, that perhaps he was too drunk to even remember what he looked like. Les agreed and shrugged it off, and nothing more was said. Les and Cilla finally arranged their wedding day, despite the fact that the priest was a de-frocked clergyman, and they had to distract the real vicar while they "married." Cilla smashed Tracy Barlow's (Kate Ford) window (due to the fact that she wouldn't hand over the bouquet of flowers for the ceremony because Cilla wouldn't pay up) and then ran to Dev Alahan’s (Jimmi Harkishin) shop and stole some flowers, before jumping into the wedding car heading towards the church. Les was driving when he spotted a member of Status Quo, took his eyes off the road to stare in amazement, and crashed into their van (with the other band member inside). Les put on a neck brace before "tying the knot" with Cilla, and they became known as Mr & Mrs. Battersby-Brown. The Quo turned up at a back room in the reception (where the presents were being kept) to rest. Les walked in, and told his idols that his dream was to trash a room with expensive things in. He duly wrecked everything, and threw a wedding-present TV out of the window as Cilla walked in to inform him that he had just trashed the presents. She went berserk and started attacking Les as the Quo watched in bursts of laughter, and the reception ended with the band agreeing to put past differences with Les behind, performing "Rockin’ All Over the World" with Les as a member of the band. Cilla then went on the honeymoon with her friend, Yana Lumb (Jayne Bickerton), instead of Les.

Paragraph 44: Now. Here. This. takes place in a natural history museum. The show follows the adventures and evolution of four friends as they journey through time--from the present day museum, to the past, and back again. Along the way, the \exhibits inspire them to share stories from their lives. The action begins with a Big Bang. The opening number (What Are the Odds) tracks the evolution of the human race, all the way up to the moment when the foursome arrive at this very moment in time, on this stage, at this theatre, in front of this audience. Naturally, the discussion turns to the teaching of Trappist monk Thomas Merton, "because nothing says musical theatre like a discussion about a Trappist monk." Merton asked folks to keep in mind three words: Now (not the past or the future), Here (exactly where you are), and This (whatever it is you're doing). Merton believed that if you can get to the intersection of these three things ("Now. Here. This.), then you will be truly present to experience "more life." The scene shifts to a planetarium exhibit in the museum, and the foursome ponder life's big and small questions, each expressing their desire for things that they hope will bring them happiness: more stuff, more love, more magic dogs named "Mr. Winston Sparkles" (More Life). The group decides to divide and conquer the museum in search of more life and the Now. Here. This. As they explore, exhibits begin to trigger memories and stories. At the deep sea exhibit, Jeff relives his experience performing at his middle school's Pancake Supper where she slays the audience with a mean Ed Grimley impersonation, and discovers his ability to cloak his true self from unwanted scrutiny (Dazzle Camouflage). For Heidi, it's recollections of childhood attention-seeking in the Hall of Birds (Give Me Your Attention). Hunter escapes into his familiar fantasy world while staring at a turtle display, imagining good times with his superdeluxe fantasy boyfriend (Archer), and at the bee exhibit, Susan recognizes herself as the busy bee who over-schedules her life with activities to distract from the discomfort of growing up in an unusual house (I Rarely Schedule Nothing). As their memories and stories grow into a chaotic (Cacophony), they all begin to understand the obstacles that stand between them and the Now. Here. This. The four then regroup in the Hall of Human Origins. Native garments and rituals ignite adolescent hopes of the perfect garment that will bring happiness and popularity (Members Only). Susan and Heidi sing about two kinds of lives with two different sets of struggles (That'll Never Be Me). Jeff recalls the regret of missing out on real college friends and fun because he was afraid to reveal his true self (Kick Me). The four friends continue to explore the museum and come across information about Aboriginal family trees and tribes. The gang sings in celebration of having found each other--their chosen tribe--out of all the people in the world (Then Comes You). A museum exhibit about the measurement of time inspires them to sing about an afternoon boat ride that seemed to last a millennium (The Amazing Adventures of the "Doc" Wilbert S. Pound). In (That Makes Me Hot) they exchange stories about moments when they found themselves in the 'Now. Here. This. Susan shares the myth of the ("Golden Palace"), a faraway place where only the privileged few are granted admission. In (Get Into It) we experience Hunter's fantasy world from the inside and the outside. Heidi struggles with rules and expectations determined long ago, eventually realizing that she can now define her own rules and choose her own adventure (This Time). After a full day at the museum, the ("Finale") exhorts the audience leave the museum of the past, to consciously step directly into the Now. Here. This. and ultimately experience more life.

Paragraph 45: The railroad owns five open-air passenger cars, four of which came from Billy Jones' ranch, and were originally built for the Overfair Railway at the 1915 Panama–Pacific International Exposition (other cars and locomotives from the railway are currently at the Swanton Pacific Railroad), and a special handicap car for wheelchair passengers built in the mid-1990s for ADA compliance. Each of the regular cars can seat up to 24 passengers, while the handicap car can seat up to three wheelchairs or roughly 12 passengers. A train composed of all five cars can carry 108 passengers. This can create capacity issues on the railroad's busiest days. To alleviate this issue, the railroad commenced construction on a fifth regular car, which is slightly different in construction, using modular seats for easier cleaning. Because the original car drawings are lost, the railroad had to resort to reverse-engineering one of the existing cars. The car, named LIVE OAK, entered revenue service on December 10, 2016. A full six-car train can seat up to 132 passengers at once, 120 if the handicap car is not used. In the following years, Cars 1-4 were rebuilt by volunteers to the same standards as LIVE OAK. In addition to the passenger cars, the railroad also owns a utility flat and a ballast hopper for work trains, plus three flatcars donated to the railroad in 2015, of which only one is rail-worthy and mainly used for storing the ramps used to get equipment on and off trucks. A self-propelled motorcar affectionately known as the "Putt-Putt" was used as a weedspraying car until it was scrapped sometime in 2012 for being unsafe, as well as the city forbidding the use of conventional weedspray in Vasona Park, forcing the railroad to use its own blend, as well as pull weeds by hand.

Paragraph 46: The sacrifices of God are a broken spirit;a broken and a contrite heart, O God, Thou wilt not despise.Verse 19 in the Hebrew (verse 17 in many modern English translations) suggests that God desires a "broken and contrite heart" more than he does sacrificial offerings. The idea of using brokenheartedness as a way to reconnect to God was emphasized in numerous teachings by Rebbe Nachman of Breslov. In Sichot HaRan #41 he taught: "It would be very good to be brokenhearted all day. But for the average person, this can easily degenerate into depression. You should therefore set aside some time each day for heartbreak. You should isolate yourself with a broken heart before God for a given time. But the rest of the day you should be joyful".

Paragraph 47: The first review was published by Game Informer, which gave the game 7.75 out of 10, saying that "Need for Speed: The Run is by no stretch a bad game; it just fails to capitalize on its chances. San Francisco to New York is a long haul, and it's even longer when not enough happens in between." A couple more positive reviews include GameTrailers, which gave it an 8.4 out of 10, writing "Need for Speed: The Run falters with its high-profile but underdeveloped plot as well as some awkward design choices. However, it overcomes these potholes with courses that are a blast to drive and simple multiplayer that keeps you hooked in." IGN gave it a 6.5 "Okay" rating, stating "All this awesome racing action gets somewhat lost amid the nonexistent story, the dumb/scripted AI, the lack of options, and the overall shortness of the game. The Run is not a marathon racing game, it's a quick and dirty drag race." 1UP gave it a C+, stating "The Run takes an awkwardly serious approach to its story (...) to deliver a cross-country campaign that's sometimes exhilarating, but often frustrating and surprisingly banal." Eurogamer gave it 5 out of 10, saying "The worst of the game's technical sins is performance, with appallingly low frame rates in our patched PS3 retail version when you brake suddenly or drift through many a corner." GamesRadar was more positive to the game, which gave it 8 out of 10, and stated "It's possible Need for Speed The Run won't provide as many hours of entertainment as previous NFS games, but then it packs in unique events and some incredibly exciting chase sequences, meaning it packs a lot of entertainment-per-hour. It's not very forgiving of mistakes, but then it provides greater rewards as a result." VideoGamer gave it 6 out of 10, saying "The Run certainly isn't terrible, and a big improvement on Black Box's previous effort, Undercover, but it needed more moments like the avalanche and less monotonous freeways. With the campaign over in an afternoon and the rest of the package failing to offer anything to keep you playing, The Run is some decent throwaway fun that will be forgotten as soon as you move on to something else." GamePro gave it 6 out of 10, writing "The journey across America is beautifully rendered, capturing the varied landscapes spectacularly as you travel over the Sierra, across the Great Plains, and head towards the East Coast. The quality of the movies is very good too, and the characters' faces are nicely rendered to convey emotion. But the story and the gameplay just don't hold up their side of the bargain, and the game ends up falling short of its considerable potential." Edge gave it one of its lowest scores, a 3 out of 10, saying "The notion that playing games is a waste of your time is nonsense, of course, but... stuffed with a procession of long-winded loading sequences, protracted menu flipping and unskippable cutscenes, it often feels like there's as much watching as there is playing. Time wasted, in other words." They criticized the many technical and graphical glitches, saying "sometimes the lighting effects mix textures into strange oily swirls, while at other times it feels like you're driving one big polygon." However, in the post script, they did concede that, while flawed, the game does have a clever concept and occasionally delivers those rare feelings of escapism that many arcade-style racers strive for: "The Run'' may not have much else going for it, but in its unusual approach to the genre it at least tries to do something new."

Paragraph 48: The album features fourteen brand new Van Zandt compositions.  The singer's third wife Jeanene recalls in To Live's To Fly finding the lyrics to "A Song For" scribbled on a notepad and, after reading them, tearfully said, "Townes, this new song is so beautiful.  It's bound to be my favorite," to which Van Zandt replied, "Song my ass...That's a suicide note."  The album features some lighter moments, such as the comical "Billy, Boney and Ma" and the bluesy "Goin' Down To Memphis", and some heartfelt moments as well, with Van Zandt including lullabies to his two youngest children, "Hey Willy Boy" and "Katie Belle Blue" (the liner notes include a dedication "to John (JT), Will, and Katie Bell").  In a 1994 interview, Van Zandt explained to Aretha Sills, "One is for my wife called 'Lover’s Lullaby'. And one I wrote for money, about Will, who’s eleven. Got a phone call from a record company, said we’re putting together an album of lullabies. I said, 'I'm not sure I have any lullabies.' 'Well, there’s money in it.' 'Oh, Yeah! I got one. I got a good one!' So I sat up 'til four o’clock in the morning and wrote 'Hey Willie Boy', and it’s a really pretty song. And then 'Katie Belle Blue' I wrote from love, to put Katie Belle to sleep."  However, these light-hearted songs are contrasted with "The Hole" and "Marie", some of the darkest material in the Van Zandt canon.  In the 2004 biopic Be Here To Love Me, Guy Clark recalls hearing "Marie" for the first time when Van Zandt played it for him in Santa Monica where they were booked to play McCabes' Guitar Shop: "He sits down with a guitar and has this piece of paper on his knee and proceeds to play 'Marie' all the way through.  He says, 'Man, I just wrote this this morning.'  And I'm like (mimes disbelief), 'You're shittin' me, man!'  And (he) went over across the street that night and played it – and remembered every word.  I swear to God I saw him do it."  Van Zandt claimed the song was inspired by Meryl Streep's character in the film Ironweed and describes the harrowing plight of a homeless couple who wind up living under a bridge until the woman dies with the protagonist's unborn child "safe inside her."  Van Zandt performed the song years before he committed it to tape, but Michael Timmins of the Cowboy Junkies told John Kruth in 2007 that "it was such a disappointment the way the producer handled it.  The song really got lost in that production.  They should have just let the man tell his story.  But I just don't think Townes cared all that much.  His thing was songwriting; by the time he recorded a song, his attitude was well, whatever."  Many regard the song as a milestone and a late-career masterpiece.  "The Hole" was another minor-key metaphorical tale about a man's nightmarish encounter with an old hag who turns him into a toad.

Paragraph 49: Hande Yener's first studio album Senden İbaret was produced by Ercan Saatçi and released by DMC on 31 May 2000. Thus Yener became the first female vocalist introduced to the market by DMC. The album's preparations lasted for a year, and its songs were written by Altan Çetin. Yener described the album's style as "neither Western nor Arabesque, just Turkish pop". Various Turkish newspapers started making predictions about the outcome of her collaboration with Altan Çetin, a well-known songwriter who had previously worked with İzel. Columnists said that Yener would "sit on İzel's throne", in response to which Yener said that she was different from İzel. Yener also made it clear that the album was initially meant to be prepared for İzel, but after she got into troubles with DMC, the original project was set aside. Senden İbarets lead single "Yalanın Batsın", became the first song for which a music video was released. The song became a hit inside Turkey in summer 2000 and successfully topped the music charts. Yener herself was surprised with the outcome saying: "I believed that I would succeed. But I was really surprised and immensely happy with the rapid development of everything." Hürriyet wrote that Yener had made a great debut and named her as one of the shining stars of the year. Following the release of a music video for "Yalanın Batsın", separate clips were also released for "Bunun Adı Ayrılık" and "Yoksa Mani". Yener was put in danger of freezing while filming the music video for "Bunun Adı Ayrılık". In 2000, she won the Best Newcomer award at the Golden Butterfly Awards, and the music video for "Yalanın Batsın" was awarded with the Best Music Video award together with Candan Erçetin's music video for "Elbette". At the award ceremony organized by Akademik Bakış magazine and later at the 2001 Kral TV Video Music Awards, Yener received the Best Female Newcomer award. Magazin Journalists Association chose her as the Promising Female Singer. Yener also appeared in the album Türk Marşları, prepared by Gendarmerie General Command together with Turkish pop singers and released at the end of 2000. She performed the song "Biz Atatürk Gençleriyiz" in the album. For her first EP, Extra, which was released in 2001, she included new versions of the songs from her first studio album Senden İbaret. Meanwhile, she made a guest appearance in one of the episodes of Show TV's series Dadı.

Answer: 26