prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What year did the publisher of Labyrinth end?

The following are given passages.
Context 1: Passage 1:
Labyrinth (1984 video game)
Labyrinth is an action-adventure game published in 1984 by Acornsoft for the BBC Micro  Its author, Michael Mathison, describes it as: 

an amalgam of what I'd seen and liked visually and I wanted to make something like an 'arcade' version of an adventure game - with lots of creatures and lots of running around shooting at things but also with some simple puzzle elements 

Gameplay
Labyrinth consists of a complex labyrinth made up of multiple levels  Each level is made up of a number of rooms, with the player only able to see a single room at any one time  Doorways are provided allowing the player to move between rooms 
Each level contains two special rooms: the "Gate Room," and the "Key Room"  The Gate Room contains the doorway to the next level which is barred by a deadly forcefield  The Key Room contains a magical crystal which will remove the forcefield, and is generally the most well-guarded and dangerous room in the level 
Rooms are populated with a variety of monsters which become more dangerous as the player progresses through the game as they move more quickly, shoot at the player, or lay poisonous mushrooms  The player can choose to avoid the various monsters (though they may well follow the player through the labyrinth), or try to kill them by shooting at them (though some monsters are invulnerable in this way and reflect the shots back), or squash them with a "boulder" that the player is able to push around with them as they travel (trickier and more risky than shooting and therefore scores more points)   Colliding with a monster will kill it but causes the player to lose health, often leading to the player's death 
Different types of fruit are scattered throughout the labyrinth, which will increase the player's health when eaten  The player slowly loses health at all times while in the Labyrinth, and will eventually die if they don't progress through the game 

Legacy
In 1987 the game was reissued on Superior Software's Acornsoft Hits compilation 
Passage 2:
The Sense of an Ending
The Sense of an Ending is a 2011 novel written by British author Julian Barnes  The book is Barnes's eleventh novel written under his own name (he has also written crime fiction under the pseudonym Dan Kavanagh) and was released on 4 August 2011 in the United Kingdom  The Sense of an Ending is narrated by a retired man named Tony Webster, who recalls how he and his clique met Adrian Finn at school and vowed to remain friends for life  When the past catches up with Tony, he reflects on the paths he and his friends have taken  In October 2011, The Sense of an Ending was awarded the Booker Prize  The following month it was nominated in the novels category at the Costa Book Awards 

Publication and marketing
The Sense of an Ending is Barnes's eleventh novel and was released in hardback on 4 August 2011   The Sense of an Ending is published by Random House (as a Jonathan Cape publication) in the United Kingdom  The book was released in October 2011 in the United States, after its previously scheduled publication date for the United States was brought forward by three months by Random House's Knopf publishing group to capitalise on the shortlisting of the book as a candidate for the Booker prize  Suzanne Dean designed the cover for The Sense of an Ending  The cover shows floating dandelion seeds, with its edge and the edges of all the pages blackened 

Title
The title is shared by a book of the same name by Frank Kermode first published in 1967, subtitled Studies in the Theory of Fiction, the stated aim of which is "making sense of the ways we try to make sense of our lives"  Kermode's book is a well-received piece of literary criticism  Critic Colin Burrow called it one of "the three most inspiring works of literary criticism written in the twentieth century", comparing Kermode's work with Erich Auerbach's Mimesis and E  R  Curtius's European Literature and the Latin Middle Ages Barnes has stated his choice of title was coincidental with that of Kermode, of whose book he had not previously heard, and which he has never read  He came up with the title before one of his friends pointed out that it had been used already, but decided "there's no copyright in titles"   Notwithstanding which, several reviewers described the novel as being "in conversation" with Kermode    For example, the critic Boyd Tonkin adds the additional interpretation that Barnes's "show-off" characters could be typical readers of Kermode's work 

Reception
The Sense of an Ending has received mostly positive reviews from critics  Michael Prodger of The Financial Times said the novel's inclusion on the Man Booker Prize longlist was "absolutely merited" and he praised the intricate mechanism of the novel and said Barnes's writing is "founded on precision as well as on the nuances of language "
Prodger added "Its brevity, however, in no way compromises its intensity – every word has its part to play; with great but invisible skill Barnes squeezes into it not just a sense of the infinite complexity of the human heart but the damage the wrong permutations can cause when combined  It is perhaps his greatest achievement that, in his hands, the unknowable does not mean the implausible " The Guardian's Justine Jordan said "With its patterns and repetitions, scrutinising its own workings from every possible angle, the novella becomes a highly wrought meditation on ageing, memory and regret " Boyd Tonkin from The Independent said The Sense of an Ending is "A slow burn, measured but suspenseful, this compact novel makes every slyly crafted sentence count " Anita Brookner, writing for The Daily Telegraph, said the novel is not a thriller, but a tragedy, which resembles Henry James's The Turn of the Screw  She opined that Barnes's reputation would be enhanced by the novel and added, "Do not be misled by its brevity  Its mystery is as deeply embedded as the most archaic of memories "Entertainment Weekly's Stephen Lee gave The Sense of an Ending a B+ and said "Barnes's latest—a meditation on memory and aging—occasionally feels more like a series of wise, underline-worthy insights than a novel  But the many truths he highlights make it worthy of a careful read " Robert McCrum writing for The Observer thought the novel would win the Man Booker Prize because it is "a work of art, in a minor key " During a feature on the 2011 Man Booker Prize nominees, the Channel 4 newsroom team gave The Sense of an Ending a nine out of ten for readability and said "It's beautifully written, very readable, and raises questions which linger in the mind long after the covers are closed " Geordie Williamson from The Australian said the novel is a pleasure to read and explained there is "a fierce and unforgiving lucidity about The Sense of an Ending, a mature reckoning with ageing that makes its competitors seem petulant and shrill " Geoff Dyer in The New York Times said the novel is average at best  "It is averagely compelling     involves an average amount of concentration and, if such a thing makes sense, is averagely well written: excellent in its averageness!" David Sexton in The Spectator drew a comparison between the narrator of the novel and the "unreliable narrator" of Ford Madox Ford's The Good Soldier, for which – he noted – Barnes wrote an introduction to the Folio Society edition  Although Sexton praised Barnes's skill, "Yet this novella does not move or satisfy     It is a story repelled by the responsibility of having children, and its final disclosure is offputting     where's the heart?"

Awards and nominations
In September 2011, The Sense of an Ending was shortlisted for the Booker Prize  Barnes had been shortlisted for the prize on three previous occasions for Flaubert's Parrot (1984), England, England (1998) and Arthur & George (2005)  On choosing The Sense of an Ending for the shortlist, judge Gaby Wood said: "It seems to be the most obvious book on this list  It's a quiet book, but the shock that comes doesn't break stride with the tone of the rest of the book  In purely technical terms it is one of the most masterful things I've ever read " On 18 October 2011, The Sense of an Ending was awarded the Booker Prize  Head judge Stella Rimington described the novel as "exquisitely written, subtly plotted and reveals new depths with each reading " She added: "We thought it was a book that spoke to the humankind in the 21st Century "On 15 November 2011, it was announced The Sense of an Ending had been nominated in the Best Novel category at the 2011 Costa Book Awards, though the book lost out to Andrew Miller's novel, Pure 

Film adaptation

A film adaptation of the same name made its world premiere as the opening film at the Palm Springs International Film Festival in Palm Springs, California, on 5 January 2017  The limited US release began on 10 March 2017  It was directed by Ritesh Batra from a screenplay adaptation by Nick Payne with a cast including Michelle Dockery, Emily Mortimer, Jim Broadbent, Charlotte Rampling, and Harriet Walter 
Passage 3:
Indianapolis News
The Indianapolis News was an evening newspaper published for 130 years, beginning December 7, 1869, and ending on October 1, 1999   The "Great Hoosier Daily," as it was known, at one time held the largest circulation in the state of Indiana   It was also the oldest Indianapolis newspaper until it closed and was housed in the Indianapolis News Building from 1910 to 1949 : 3–5  After Eugene C  Pulliam, the founder and president of Central Newspapers acquired the News in 1948, he became its publisher, while his son, Eugene S  Pulliam, served as the newspaper's managing editor  Eugene S  Pulliam succeeded his father as publisher of the News in 1975 The Indianapolis News was an evening paper, and its decline matched a growing circulation of the morning newspaper, the Indianapolis Star  Prior to the closing, there had been a partial merging of the newspaper staff with the Star 

Notable staff members
Medford Stanton Evans (1934–2015) was an award-winning journalist, educator, and author who became the head editorial writer for the News in 1959  He was promoted to editor of the News in 1960, at the age twenty-six, and became the youngest editor of a metropolitan daily newspaper at that time  Because of his editorial at the News, Evans was selected in 1960 to draft the Sharon Statement, which outlined the founding principles for the Young Americans for Freedom  The conservative writer remained as editor of the News through 1974, when he left the city and became a nationally syndicated columnist for The Los Angeles Times  Evans also taught journalism as Troy University in Troy, Alabama, for more than thirty years  Among his many other activities, Evans lead the American Conservative Union from 1971 to 1977, authored several books, and founded the National Journalism Center in 1977 in Washington, D C 
Frank McKinney "Kin" Hubbard (1868–1930) was a nationally known American cartoonist, humorist, and journalist whose most famous work was the Abe Martin cartoon series  Hubbard  introduced his Abe Martin character to Indianapolis News readers on December 17, 1904, and it appeared six days a week on the back page of the newspaper for twenty-six years  Hubbard also originated and illustrated a once-a-week humor essay for the "Short Furrows" column in the Sunday edition  The Abe Martin cartoon series went into national print syndication in 1910 and the "Short Furrows" column went into syndication the following year  For years after Hubbard's death in 1930, the News and other newspapers continued to print his Abe Martin cartoon series 
Eugene S  Pulliam (1914–1999) began working at the News as its managing editor in 1948 and rose through the managerial ranks to become assistant publisher of the Indianapolis News and the Star  in 1962  He succeeded his father, Eugene C  Pulliam, as publisher of both newspapers in 1975  Known for his advocacy for First Amendment rights and freedom of the press, Eugene S  Pulliam remained the publisher of the News and the Star  until his death in 1999  He also became president of Central Newspapers in 1979 following the death of his stepmother, Nina Mason Pulliam 
Juliet V  Strauss (1863–1918) was a well-known journalist, author, and public speaker from Rockville, Indiana, who wrote a regular weekly column for the News using the pseudonym of "The Country Contributor" from November 1903 until her death in May 1918  Strauss also was a leader in efforts to generate public and state government support to establish Turkey Run State Park in Parke County, Indiana, in 1916 as Indiana's second state park  She began her journalism career as a regular newspaper columnist at the Rockville Tribune in 1893  In addition to her regular newspaper columns, Strauss authored "The Ideas of a Plain Country Woman," a monthly column for the Ladies' Home Journal from 1905 until 1918  She was also a founder in 1913 of the Woman's Press Club of Indiana 
Passage 4:
Someone in the Dark
Someone in the Dark is a collection of fantasy and horror short stories by author August Derleth  It was released in 1941 and was the second book published by Arkham House   1,115 copies were printed, priced at $2 00  In Thirty Years of Arkham House, Derleth implied that this title had sold out by the end of 1944 
However, more than twenty years later, in 1967, Derleth listed Someone in the Dark in an Arkham House bulletin with this announcement: "We have acquired a small stock of this title, Derleth's first collection of macabre tales, published in 1941  They will be sold at $5 00 the copy to patrons interested in acquiring the book   "
Derleth was being disingenuous in suggesting these 'unearthed' copies were the 1941 edition   The additional 300 copies were printed in offset by Hunter Publishing Co  in Winston-Salem in 1965, the reprint probably authorized by Derleth himself   (In The Arkham House Companion, Sheldon Jaffery quotes a letter that seems to indicate this)  The 1965 reprint are a quarter-inch higher than the originals, and are bound with headbands (not present in the 1941 first editions) 
The 1965 edition is scarce  While it is not generally considered an official Arkham House publication, it is considered an essential acquisition for Arkham House completists 
A paperback reprint was issued by Jove Books in 1978 

Contents
Someone in the Dark contains the following tales:

"When the Night and House "
"Glory Hand"
"Compliments of Spectro"
"A Gift for Uncle Herman"
"McGovern's Obsession"
"Three Gentlemen in Black"
"Muggridge's Aunt"
"Bramwell's Guardian"
"Joliper's Gift"
"Altimer's Amulet"
"The Shuttered House"
"The Sheraton Mirror"
"The Wind from the River"
"The Telephone in the Library"
"The Panelled Room"
"The Return of Hastur"
"The Sandwin Compact"

Reception
E  F  Bleiler noted that "the local, regionalistic American stories are best, while those in imitation of Lovecraft are weakest"  New York Times reviewer Louise Maunsell Field gave the collection a relatively favorable review, saying that "The stories are for the most part well told, and lovers of tales of the occult will find the volume entertaining and congenial, although it has little of either sensitivity or beauty " Thrilling Wonder Stories commented that "Mr  Derleth writes quietly and with restraint, in beautifully measured sentences that stick to the essentials of the story he has to tell  His very restraint sometimes plays a trick on him -- and makes his writing appear at time to lack fire" 
Passage 5:
Minotaur: The Labyrinths of Crete
Minotaur: The Labyrinths of Crete is a 1992 role-playing adventure video game for Macintosh by Bungie; produced by Jason Jones and Alex Seropian  The game distinguished itself from other games of its time by including a multiplayer mode that functioned over the AppleTalk protocol or Point-to-Point Protocol  A single-player exploration mode was also available, but this mode had no end goal and was useful to discover how the various items found in the maze operated  The game originated in 1988 as an Apple game played over a modem between two opponents, but was never officially released on that platform 
The game's tagline was "Kill your enemies  Kill your friends' enemies  Kill your friends"  This tagline has reappeared as a description in the multiplayer menu screens for some of Bungie's other games, such as Myth: The Fallen Lords and Halo 3 
Bungie later licensed Minotaur's game engine to the studio Paranoid Productions (Richard Rouse) who used it to create Odyssey: The Legend of Nemesis, released in 1996 

Reception
Computer Gaming World favorably reviewed Minotaur although criticizing its not using the mouse and lack of a single-player option, and concluded that "a group of dedicated opponents [that] enjoy fast-thinking and ad-lib strategizing will find long-lasting enjoyment from this game"  The game was reviewed in 1992 in Dragon #188 by Hartley, Patricia, and Kirk Lesser in "The Role of Computers" column  The reviewers gave the game 4 out of 5 stars  The game sold 2,500 copies 

See also
Pathways into Darkness, originally to be a sequel to this game
Passage 6:
Crónicas
Crónicas ("chronicles") is a 2004 Ecuadorian thriller film, written and directed by Sebastián Cordero  The film was produced by, among others, Guillermo del Toro, director of Pan's Labyrinth, and Alfonso Cuarón, director of Children of Men  It was screened in the Un Certain Regard section at the 2004 Cannes Film Festival 

Overview
Set in rural Ecuador, the movie follows a television journalist named Manolo Bonilla (played by John Leguizamo) as he investigates the rape and murder of children in the area  The film also stars Leonor Watling and José María Yazpik as Manolo's producer and cameraman, respectively  The film was the official Oscar selection from Ecuador in the Best Foreign Language category 

Plot summary
After traveling to a small village in Ecuador, Miami tabloid news reporter Manolo Bonilla (Leguizamo) witnesses the death of a local boy after Vinicio Cepeda, a traveling salesman, hits the boy with his pickup truck  When Cepeda attempts to back his truck away from the boy, a mob, led by the boy's father, Don Lucho, pulls him from his car, severely beats him, and sets him on fire before the local authorities intervene  After both men are arrested, Cepeda is examined at the jail infirmary and taken to his cell where, later that night, he is attacked by Don Lucho and severely injured 
The next morning Manolo Bonilla comes to the prison to interview the men involved  After agreeing to an interview alongside Cepeda, Lucho attacks Cepeda a second time and is taken away  The interview with Cepeda is cancelled due to concerns about Manolo's safety; however, before the reporter leaves, Cepeda notifies him that he has information on the Monster of Babahoyo, a notorious murderer and rapist in the area, and tells him the location where one of the murderer's victims, a nine-year-old girl, is buried  Manolo agrees to interview Cepeda and attempts to free him from prison in exchange for information about the murders  Later that evening Manolo and his cameraman Ivan drive to the location Cepeda mentioned and dig up a shallow grave, indeed containing the body of a small girl 
Over the following days Manolo begins interviewing Cepeda, as well as Cepeda’s wife, son, and babysitter  While interviewing Cepeda, Manolo begins to suspect that Cepeda is, in fact, the Monster of Babahoyo and using him to exonerate himself  After Manolo attempts to get Cepeda to incriminate himself, Cepeda tells him to leave and never come back  Manolo then informs Cepeda that the interview which would free him will not be aired 
Manolo calls the authorities and tells them that he had been receiving anonymous calls about the location of the girl's grave   He discovers circumstantial evidence placing Cepeda at the locations of the murders on the dates they occurred; however, despite Manolo's request, the news agency airs Cepeda's interviews which help set Cepeda free  After being interviewed by authorities, Manolo and his crew return to Cepeda's home in search of him only to find that he left his pregnant wife alone at their house and took their son to school before leaving the area  Manolo is offered his own show on the news network and, after deciding against turning over the evidence to the police, the team arrives at the airport and parts ways 

Cast
John Leguizamo as Manolo Bonilla
Leonor Watling as Marisa Iturralde
Damián Alcázar as Vinicio Cepeda
José María Yazpik as Iván Suárez
Alfred Molina as Victor Hugo Puentes
Henry Layana as Don Lucho
Tamara Navas as Doña Etelvina
Washington Garzón as Joseph Juan
Rosa Alina Ortiz as Amiga Don Lucho
Raymundo Zambrano as Cura
Camilo Luzuriaga as Capitán Bolivar Rojas
Peki Andino as Sargento Saltos (as Peky Andino)
Luiggi Pulla as Robert

Awards
Crónicas was Ecuador's submission to the 77th Academy Awards for the Academy Award for Best Foreign Language Film, but was not accepted as a nominee 

See also
List of submissions to the 77th Academy Awards for Best Foreign Language Film
Passage 7:
Fiscal year
A fiscal year (or financial year, or sometimes budget year) is used in government accounting, which varies between countries, and for budget purposes  It is also used for financial reporting by businesses and other organizations  Laws in many jurisdictions require company financial reports to be prepared and published on an annual basis but generally with the reporting period not aligning with the calendar year (1 January to 31 December)  Taxation laws generally require accounting records to be maintained and taxes calculated on an annual basis, which usually corresponds to the fiscal year used for government purposes  The calculation of tax on an annual basis is especially relevant for direct taxes, such as income tax  Many annual government fees—such as council tax and license fees, are also levied on a fiscal year basis, but others are charged on an anniversary basis 
Some companies, such as Cisco Systems, end their fiscal year on the same day of the week each year: the day that is closest to a particular date (for example, the Friday closest to 31 December)  Under such a system, some fiscal years have 52 weeks and others 53 weeks The calendar year is used as the fiscal year by about 65% of publicly-traded companies in the United States and for most large corporations in the United Kingdom  That is the case in many countries around the world with a few exceptions such as Australia, New Zealand, and Japan Many universities have a fiscal year which ends during the summer to align the fiscal year with the academic year (and, in some cases involving public universities, with the state government's fiscal year) and also because the university is normally less busy during the summer months  In the Northern Hemisphere, that is July to the next June  In the Southern Hemisphere, that is the calendar year, January to December  In a similar fashion, many nonprofit performing arts organizations will have a fiscal year which ends during the summer, so that their performance season that begins in the fall and ends in the spring will be within one fiscal year 
Some media/communication-based organizations use a broadcast calendar as the basis for their fiscal year 

Chart of various fiscal years
Tax year
The fiscal year for individuals and entities to report and pay income taxes is often known as the taxpayer's tax year or taxable year   Taxpayers in many jurisdictions may choose their tax year  Some federal countries, such as Canada and Switzerland, require the provincial or cantonal tax year to align with the federal year  In the United States, most states retained a 30 June fiscal year-end date when the federal government switched to 30 September in 1976  Nearly all jurisdictions require that the tax year be 12 months or 52/53 weeks  However, short years are permitted as the first year or when changing tax years Most countries require all individuals to pay income tax based on the calendar year   Significant exceptions include:

Australia: individuals pay income tax based on the financial year of 1 July until 30 June 
United Kingdom: the tax year for individuals begins on 6 April  This is due to Britain historically having a calendar year starting on Lady Day (25 March) in the Julian calendar but a fiscal year ending on that day  When the UK adopted the Gregorian calendar in 1752, 25 March translated to 5 April and 26 March to 6 April  (See History of taxation in the United Kingdom#Why the United Kingdom income tax year begins on 6 April for more detailed explanation )
United States: individuals may (but rarely do) elect any tax year, subject to IRS approval Many jurisdictions require that the tax year conform to the taxpayer's fiscal year for financial reporting  The United States is a notable exception: taxpayers may choose any tax year, but must keep books and records for such year 

Operation in various countries/region
In some jurisdictions, particularly those that permit tax consolidation, companies that are part of a group of businesses must use nearly the same fiscal year (differences of up to three months are permitted in some jurisdictions, such as the U S  and Japan), with consolidating entries to adjust for transactions between units with different fiscal years, so the same resources will not be counted more than once or not at all 

Afghanistan
In Afghanistan, from 2011 to 2021, the fiscal year began on 1 Hamal (20th or 21 March)  The fiscal year aligned with the Persian or Solar Hijri calendar used in Afghanistan at the time 
Following transfer of power to the Taliban administration in September 2021, Afghanistan abandoned the Solar Hijri calendar in favour of the Lunar Hijri calendar  The fiscal cycle was restarted with effect from 1 Muharram 1444 AH (30 July 2022)

Australia
In Australia, a fiscal year is commonly called a "financial year" (FY) and starts on 1 July and ends on the next 30 June  Financial years are designated by the calendar year of the second half of the period  For example, financial year 2024 is the 12-month period ending on 30 June 2024 and can be referred to as FY2023/24  It is used for official purposes, by individual taxpayers and by the overwhelming majority of business enterprises  Business enterprises may opt to use a financial year that ends at the end of a week (e g , 52 or 53 weeks in length, and therefore is not exactly one calendar year in length), or opt for its financial year to end on a date that matches the reporting cycle of its foreign parent  All entities within the one group must use the same financial year 
For government accounting and budget purposes, pre-Federation colonies changed the financial year from the calendar year to a year ending 30 June on the following dates: Victoria changed in 1870, South Australia in 1874, Queensland in 1875, Western Australia in 1892, New South Wales in 1895 and Tasmania in 1904  The Commonwealth adopted the near-ubiquitous financial year standard since its inception in 1901  The reason given for the change was for convenience, as Parliament typically sits during May and June, while it was difficult for it to meet in November and December to pass a budget The Financial year is split into the following four-quarters

Austria
In Austria, the fiscal year is the calendar year, 1 January to 31 December 

Bangladesh
In Bangladesh, the fiscal year is 1 July to the next 30 June 

Belarus
In Belarus, the fiscal year is the calendar year, 1 January to 31 December 

Brazil
In Brazil, the fiscal year is the calendar year, 1 January to 31 December 

Bulgaria
In Bulgaria, the fiscal year is the calendar year, 1 January to 31 December, both for personal income tax and for corporate taxes 

Canada
In Canada, the government's financial year is 1 April to 31 March (Q1 1 April - 30 June, Q2 1 July - 30 Sept, Q3 1 Oct - 31 Dec and Q4 1 Jan - 31 Mar)
For individual taxpayers, the fiscal year is the calendar year, 1 January to 31 December 

China
In China, the fiscal year for all entities is the calendar year, 1 January to 31 December, and applies to the tax year, statutory year, and planning year 

Colombia
In Colombia, the fiscal year is the calendar year, 1 January to 31 December 

Costa Rica
In Costa Rica, the fiscal year is 1 October to 30 September 

Egypt
In Egypt, the fiscal year is 1 July to 30 June 

France
In France, the fiscal year is the calendar year, 1 January to 31 December, and has been since at least 1911 

Germany
In Germany, the fiscal year runs from 1st January until 31st December 

Greece
In Greece, the fiscal year is the calendar year, 1 January to 31 December 

Hong Kong
In Hong Kong, the government's financial year runs from 1 April to 31 March However, a company incorporated in Hong Kong can determine its own financial year-end, which may be different from the government fiscal year 

India
In India, the government's financial year runs from 1 April to 31 March the following year  The financial year from 1 April 2020 to 31 March 2021 would generally be abbreviated as FY 2020-21, but it may also be called FY 2021 on the basis of the ending year  Companies following the Indian Depositary Receipt (IDR) are given freedom to choose their financial year  For example, Standard Chartered's IDR follows the UK calendar despite being listed in India  Companies following Indian fiscal year get to know their economic health on 31 March of every Indian financial or fiscal year 
The current fiscal year was adopted by the colonial British government in 1867 to align India's financial year with that of the British Empire  Prior to 1867, India followed a fiscal year that ran from 1 May to 30 April In 1984, the LK Jha committee recommended adopting a fiscal year that ran from 1 January to 31 December  However, this proposal was not adopted by the government fearing possible issues during the transition period  A panel set up by the NITI Aayog in July 2016, recommended starting the next fiscal year from 1 January to 31 December after the end of the current five-year plan On 4 May 2017, Madhya Pradesh announced that it would move to a January–December financial year, becoming the first Indian state to do so  But later it dropped the idea 

Indonesia
In Indonesia, the fiscal year is the calendar year, 1 January to 31 December 

Iran
In Iran, the fiscal year usually starts on 21st or 22 March (1st of Farvardin in the Solar Hejri calendar) and concludes on next year's 20th or 21 March (29th or 30th of Esfand in the Solar Hijri calendar) 

Ireland
In Ireland, the fiscal year is the calendar year, 1 January to 31 December  Until 2001, it was the year ending 5 April, as in the United Kingdom, but was changed with the introduction of the euro  The 2001 tax year was nine months, from April to December 

Israel
In Israel, the fiscal year is the calendar year, 1 January to 31 December 

Italy
In Italy, the fiscal year is the calendar year, 1 January to 31 December  It was changed in 1965, before which it was 1 July to 30 June 

Japan
In Japan, the government's financial year is from 1 April to 31 March Japan's income tax year is 1 January to 31 December, but corporate tax is charged according to the corporation's own annual period 

Lithuania
In Lithuania, the fiscal year is the calendar year, 1 January to 31 December 

Macau
In Macau, the government's financial year is 1 January to 31 December 

Mexico
In Mexico, the fiscal year is the calendar year, 1 January to 31 December 

Moldova
In Moldova, the fiscal year is the calendar year, 1 January to 31 December 

Myanmar/Burma
In Myanmar, the fiscal year is 1 October to 30 September 

Nepal
In Nepal, the fiscal year is July 16 (1 Shrawan in Bikram calendar) to July 15 (31 Ashad in Bikram calendar) 

New Zealand
In New Zealand, the government's fiscal and financial reporting year is 1 July to the next 30 June and applies also to the budget  The company and personal financial year is 1 April to 31 March and applies to company and personal income tax 

Pakistan
In Pakistan, the government's fiscal year is 1 July of the previous calendar year and concludes on 30 June  Private companies are free to observe their own accounting year, which may not be the same as government's fiscal year 

Philippines
In the Philippines, the government's fiscal year is the calendar year, from 1 January to 31 December The accounting period for the private sector must follow a 12-month fiscal period which can or can not be synchronized with the calendar year  Most Philippine companies end their fiscal years in December or March 

Poland
In Poland, the fiscal year is the calendar year, from 1 January to 31 December 

Portugal
In Portugal, the fiscal year is the calendar year, 1 January to 31 December 

Qatar
In Qatar, the fiscal year is from 1 January to 31 December 

Romania
In Romania, the fiscal year is the calendar year, 1 January to 31 December 

Russia
In Russia, the fiscal year is the calendar year, 1 January to 31 December 

Singapore
In Singapore, the fiscal year for the calculation of personal income taxes is 1 January to 31 December The fiscal year for the Government of Singapore and many government-linked corporations is 1 April to 31 March Corporations and organisations are permitted to select any date as the end of each fiscal year, as long as this date remains constant  However, new companies should consciously choose their financial year end to stretch as much as a duration of 12 months as possible 

South Africa
In South Africa, the financial year for the Government of South Africa is 1 April to 31 March The year of assessment for individuals covers twelve months, 1 March to the final day of February the following year  The Act also provides for certain classes of taxpayers to have a year of assessment ending on a day other than the last day of February  Companies are permitted to have a tax year ending on a date that coincides with their financial year  Many older companies still use a tax year that runs from 1 July to 30 June, inherited from the British system  A common practice for newer companies is to run their tax year from 1 March to the final day of February following, to synchronize with the tax year for individuals 

South Korea
In South Korea, the fiscal year is the calendar year, 1 January to 31 December 

Spain
In Spain, the fiscal year is the calendar year, 1 January to 31 December 

Sweden
In Sweden, the fiscal year for individuals is the calendar year, 1 January to 31 December The fiscal year for an organisation is typically one of the following:

1 January to 31 December
1 May to 30 April
1 July to 30 June
1 September to 31 AugustHowever, all calendar months are allowed  If an organisation wishes to change into a non-calendar year, permission from the Tax Authority is required 

Switzerland
In Switzerland, the fiscal year is the calendar year, 1 January to 31 December 

Taiwan
In Taiwan, the fiscal year is the calendar year, 1 January to 31 December  However, an enterprise may elect to adopt a special fiscal year at the time it is established and can request approval from the tax authorities to change its fiscal year 

Thailand
In Thailand, the government's fiscal year (FY) is 1 October to 30 September of the following year  For individual taxpayers it is the calendar year, 1 January to 31 December 

Turkey
In Turkey, the fiscal year is the calendar year, 1 January to 31 December 

Ukraine
In Ukraine, the fiscal year is the calendar year, 1 January to 31 December 

United Arab Emirates
In the United Arab Emirates, the fiscal year is the calendar year, 1 January to 31 December 

United Kingdom
In the United Kingdom, the financial year runs from 1 April to 31 March for the purposes of government financial statements  For personal tax purposes the fiscal year starts on 6 April and ends on 5 April of the next calendar year Although United Kingdom corporation tax is charged by reference to the government's financial year, companies can adopt any year as their accounting year: if there is a change in tax rate, the taxable profit is apportioned to financial years on a time basis A number of major corporations that were once government-owned, such as BT Group and the National Grid, continue to use the government's financial year, which ends on the last day of March, as they have found no reason to change since privatisation The 5 April year end for income tax reflects the old civil and ecclesiastical calendar under which New Year began on 25 March (Lady Day)  The difference between the two dates is accounted for by the eleven days omitted in September 1752 due to the Calendar (New Style) Act 1750 by which Great Britain also converted from the Julian Calendar to the Gregorian Calendar  However, although the calendar year finished on 24 March, the tax year finished a day later, on 25 March, the Quarter Day 
For a fuller explanation about the history of the United Kingdom income tax year and its start date, see History of taxation in the United Kingdom#Why the United Kingdom income tax year begins on 6 April 

United States
Federal government
In the United States, the federal government's fiscal year is the 12-month period beginning 1 October and ending 30 September the following year  The identification of a fiscal year is the calendar year in which it ends; thus, the current fiscal year is 2023, often written as "FY2023" or "FY23", which began on 1 October 2022 and will end on 30 September 2023 
Until 1976, the fiscal year began on 1 July and ended on 30 June  The Congressional Budget and Impoundment Control Act of 1974 made the change to allow Congress more time to arrive at a budget each year, and provided for what is known as the "transitional quarter" from 1 July 1976 to 30 September 1976  An earlier shift in the federal government's fiscal year was made in 1843, shifting the fiscal year from a calendar year to one starting on 1 July For example, the United States government Fiscal Year 2023 is:

1st quarter: 1 October 2022 – 31 December 2022
2nd quarter: 1 January 2023 – 31 March 2023
3rd quarter: 1 April 2023 – 30 June 2023
4th quarter: 1 July 2023 – 30 September 2023

State governments
State governments set their own fiscal year  Forty-six of the fifty states set their fiscal year to end on 30 June  Four states have fiscal years that end on a different date:

Alabama, ends 30 September
Michigan, ends 30 September
New York, ends 31 March
Texas, ends 31 AugustThe fiscal year for the Washington, D C , government ends on 30 September Among the inhabited territories of the United States, most align with the federal fiscal year, ending on 30 September  These include American Samoa, Guam, the Northern Mariana Islands and the U S  Virgin Islands  Puerto Rico is the exception, with its fiscal year ending on 30 June 

Vietnam
In Vietnam, the fiscal year is the calendar year, 1 January to 31 December 

Businesses and organizations
The tax year for a business is governed by the fiscal year it chooses   A business may choose any consistent fiscal year that it wants; however, for seasonal businesses such as farming and retail, a good account practice is to end the fiscal year shortly after the highest revenue time of year   Consequently, most large agriculture companies end their fiscal years after the harvest season, and most retailers end their fiscal years shortly after the Christmas shopping season 

See also
4–4–5 calendar
Passage 8:
Headwall Pond
Headwall Pond (77°34′4″S 160°47′2″E) is a very small ice-covered pond in the Labyrinth of Wright Valley, in the McMurdo Dry Valleys of Antarctica  The pond lies along a rock headwall close northeast of Craig Pond  The descriptive name was suggested by the United States Antarctic Program field party that sampled the pond in 2003–04 
Passage 9:
Acornsoft
Acornsoft was the software arm of Acorn Computers, and a major publisher of software for the BBC Micro and Acorn Electron  As well as games, it also produced a large number of educational titles, extra computer languages and business and utility packages – these included word processor VIEW and the spreadsheet ViewSheet supplied on ROM and cartridge for the BBC Micro/Acorn Electron and included as standard in the BBC Master and Acorn Business Computer 

History
Acornsoft was formed in late 1980 by Acorn Computers directors Hermann Hauser and Chris Curry, and David Johnson-Davies, author of the first game for a UK personal computer and of the official Acorn Atom manual "Atomic Theory and Practice"  David Johnson-Davies was managing director and in early 1981 was joined by Tim Dobson, Programmer and Chris Jordan, Publications Editor 
While some of their games were clones or remakes of popular arcade games (e g  Hopper is a clone of Sega's Frogger, Snapper is Namco's Pac-Man, Arcadians is Namco's Galaxian), they also published a number of original titles such as Aviator, Elite, and Revs  Acornsoft also published text adventures by authors such as Peter Killworth, including Philosopher's Quest (previously titled Brand X) and Countdown to Doom As a result of the publication of a method to circumvent copy protection measures employed by Acornsoft titles, a High Court injunction against Computing Publications - publisher of Personal Computer World - was granted to Acorn Computers "requiring all copies of the January 1984 issue of PCW to be withdrawn from sale", with the article concerned being regarded as inciting readers to "duplicate computer programs"  This injunction was subsequently lifted as a consequence of an out-of-court settlement between the parties involving a damages payment of £65,000 plus costs to Acorn "to meet Acorn's expenses in developing a new locking device"  The article's author, Guy Kewney, and the magazine's editor, Jane Bird, argued that printing a software routine showing how to save Acornsoft cassette software to disk was a service to the magazine's readers  The cost of printing the magazine issue concerned was estimated at £100,000 Acornsoft became a subsidiary within Acorn Computer Group, distinct from Acorn Computers who were responsible for the development of Acorn's microcomputer systems, but Acornsoft ceased to operate as a separate company upon the departure of David Johnson-Davies in January 1986  Past this date, Acorn Computers used the Acornsoft name on office software it released in the VIEW family for the BBC Master series  In 1986 Superior Software was granted a licence to publish some Acornsoft games and re-released many, individually and as compilations such as the Play It Again Sam and Acornsoft Hits series  By agreement, the Acornsoft name was also used on the packaging of some of the subsequent Superior games  Superior chose not to take on Acornsoft's text adventure games, most of which were released in updated versions by Topologika along with some sequels from the same authors 
In 1997, Acorn sought to revive the Acornsoft brand for new software releases, such as upgrades to RISC OS, programming tools, a new Web browser, multitasking movie playback (using Acorn Replay), and Java for RISC OS  A stated objective was to demonstrate that a "wide range of innovative software at competitive prices" was available for RISC OS, with support also being potentially offered to third-party software producers  Acornsoft products themselves would be supported by marketing, including advertising, and the provision of press review samples 

Branding
Acornsoft titles extended their consistent branding to the software's loading screens 

Select titles
Acheton – A text adventure
Arcadians – A Galaxian clone
Aviator – A Spitfire flight simulator  With aliens   
Black Box & Gambit - 2 board game type games which were the winning entries of a 'design a game' competition on ITV's The Saturday Show  Black Box was a licensed version of the Waddingtons game of the same name developed by Ben Finn who would go on to co-write Sibelius  Gambit was created by the Oliver Twins and their first commercially released game
Bouncer – A Q*Bert clone
Business Games – An educational package
Carousel – A Carnival clone
Castle of Riddles – A text adventure
Countdown to Doom – A text adventure; first in a trilogy (although sequels Return to Doom and Last Days of Doom were not published by Acornsoft)
Crazy Tracer – An Amidar clone
Creative Graphics – A series of graphical demonstrations of the BBC Micro's visual capabilities, with user editable code
Drogna – Strategy game based on a section of the BBC TV game show The Adventure Game
Elite – A 3D space battle and trading game
Firebug – A platform and ladders game
Free Fall – Survival game set in an out of control space station
Gateway to Karos – A text adventure
Graphs and Charts – Graphical mathematical modelling
Hopper – A Frogger clone
JCB Digger – A scrolling 2D dig-em-up
Kingdom of Hamil – A text adventure
Labyrinth – A 2D maze based shoot-em-up
Magic Mushrooms – A platform and ladders game with built-in level editor
Meteor Mission – A Lunar Rescue clone
Meteors – An Asteroids clone
Missile Base – A Missile Command clone
Monsters – A Space Panic clone
Philosopher's Quest – A text adventure
Planetoid – A Defender clone originally released as Defender
Revs – A Formula Three racing car simulation
Rocket Raid – A Scramble clone
Snapper – A Pac-Man clone
Sphinx Adventure – A text adventure
Starship Command – A 2D space battle game
Super Invaders – A Space Invaders clone
Volcano – A game in which you rescue people from the other side of an active volcano with a helicopter

Acornsoft Games range
Including all arcade, text adventure and board games  All games were compatible with the BBC Micro Model B  Games followed by Model A & B were compatible with both machines  Games followed by Electron were also released separately for the Acorn Electron  Games are listed by their catalogue numbers which are roughly the order of release of the BBC versions 

G01 Philosopher's Quest (BBC 1982, Electron 1984)
G02 Defender (BBC 1982) deleted for legal reasons and later re-released as Planetoid
G02 Aviator (BBC 1983) released with G26-G28 but re-used the deleted Defender's number
G03 Monsters (BBC 1982, Electron 1983)
G04 Snapper (BBC 1982, Electron 1983)
G05 Rocket Raid (BBC 1982)
G06 Arcade Action (BBC Model A & B 1982) 4 games: Invaders, Breakout, Dodgems and Snake
G07 Sphinx Adventure (BBC 1982, Electron 1984)
G08 Cube Master (BBC 1982)
G09 JCB Digger (BBC 1983)
G10 Chess (BBC 1982, Electron 1983)
G11 Maze (BBC 1982, Electron 1984)
G12 Sliding-Block Puzzles (BBC 1982)
G13 Meteors (BBC 1982, Electron 1983)
G14 Arcadians (BBC 1982, Electron 1984)
G15 Planetoid (BBC 1982, Electron 1984)
G16 Super Invaders (BBC 1982)
G17 Castle of Riddles (BBC 1982, Electron 1984)
G18 Missile Base (BBC 1982)
G19 Countdown to Doom (BBC 1982, Electron ROM Cartridge 1984)
G20 Draughts & Reversi (BBC Model A & B 1983, Electron 1983)
G21 Snooker (BBC 1983, Electron 1984)
G22 Starship Command (BBC 1983, Electron 1983)
G23 Hopper (BBC 1983, Electron 1984)
G24 Carousel (BBC 1983)
G25 Kingdom of Hamil (BBC 1983)
G26 Crazy Tracer (BBC 1983, Electron 1984)
G27 Drogna (BBC 1983)
G28 Free Fall (BBC 1983, Electron 1984)
G29 Meteor Mission (BBC 1984)
G30 Gateway to Karos (BBC 1983)
G31 Boxer (BBC 1984, Electron 1984)
G32 Tetrapod (BBC 1984)
G33 Volcano (BBC 1984)
G34 Black Box & Gambit (BBC 1984)
G35 Bouncer (BBC 1984)
G36 The Seventh Star (BBC 1984)
G37 Acheton (BBC 1984)
G38 Elite (BBC 1984, Electron 1984)
G39 Firebug (BBC 1984, Electron 1984)
G40 Quondam (BBC 1984)
G41 Labyrinth (BBC 1984)
G42 Go (BBC 1984, Electron 1984)
G43 Revs (BBC 1985)
G44 Revs 4 Tracks (BBC 1985) extra tracks for the main game
G45 Elite original BBC Micro 6502 Second Processor version
G46 Magic Mushrooms (BBC 1985, Electron 1985)
G47 Elite enhanced (BBC 1986) incl  6502 Second Processor and Master 128 versionsThere are also a number of completed but unreleased games that have found their way into the public domain such as Crazy Balloon, Hellforce and Bandit that date from around 1983 

Acornsoft Education range
Acornsoft produced a wide range of educational titles aimed at many different age groups 

E01 Algebraic Manipulation (BBC Model A & B 198?)
E02 Peeko-Computer (BBC Model A & B 198?, Electron 1984)
E03 Business Games (BBC Model A & B 198?, Electron 1984) 2 games: Stokmark and Telemark
E04 Tree of Knowledge (BBC 198?, Electron 1983)
E05 Word Hunt (BBC 198?, Electron 1984)
E06 Word Sequencing (BBC Model A & B 198?, Electron 1984)
E07 Sentence Sequencing (BBC 198?, Electron 1984)
E08 Number Balance (BBC 198?, Electron 1984)
E09 Missing Signs (BBC Model A & B 198?, Electron 1984)
E?? Speed and Light (BBC 198?)
E?? Density and Circuit (BBC 198?)
E12 Chemical Analysis (BBC 198?)
E13 Chemical Simulations (BBC 198?)
E14 Chemical Structures (BBC 198?)
E15 Jars (BBC 198?)
E16 Temperature Control Simulation (BBC 1983)
E17 The Examiner (BBC 198?)
E18 Spooky Manor (BBC 198?)
E19
E20
E21
E22 Talkback (BBC 1984, Electron 1984)
E23 Workshop (BBC 1984, Electron 1984)
E24 ABC (BBC 1984)Acornsoft also published and distributed a range of educational software developed by ASK (Applied Systems Knowledge) that were widely used in schools running BBC Micros  These included Podd (find out which actions a red blobby character can perform (e g  jump, smile, dance), Squeeze (a two player strategy game of squeezing shapes onto a board) and Cranky (solve maths problems to repair a living calculator)  These titles were part of the Acornsoft catalogue but used a different code (XBE?? – all other Acornsoft titles began with S so the Education range on BBC Micro cassettes would be SBE??)  They ran on both the BBC Micro Model B and Acorn Electron 
The Ivan Berg Software range was also mainly educational but had its own distinct code (XBX??)  This included the 6 Grandmaster Quizzes (Theatre, Crime & Detection, Music, History, Science Fiction and Royal), relationship aids "  I Do" Your Guide to a Happy Marriage and The Dating Game and GCE/CSE revision guides (Mathematics, Biology and English) 
Acornsoft also distributed other ranges of educational programs developed by companies such as ICL, Good Housekeeping and Bourne but they are not considered part of the official catalogue 

Acornsoft Business range
Acornsoft produced a range of office software for home and business use 

B01 Desk Diary (BBC 198?, Electron 1984)
B02 Forecast (BBC 198?)
B03 VIEW (BBC 198?, Electron ROM cartridge 1984)
B04 VIEW Printer Drivers (BBC 198?)
B05 Personal Money Management (BBC 198?, Electron 1983)
B06 Database (BBC 1983, Electron 1984)
B07 ViewSheet (BBC 1984, Electron ROM cartridge 1984)
B08 Invoicing (BBC 1984)
B09 Mailing (BBC 1984)
B10 Accounts Receivable (BBC 1984)
B11 Stock Control (BBC 1984)
B12 Order Processing (BBC 1984)
B13 Accounts Payable (BBC 1984)
B14 Purchasing (BBC 1984)
B15 Hi-View (BBC 19??)
B26 P-System (BBC with 6502 Second Processor)The series continues but mainly with add-on products for the VIEW word processor such as ViewIndex (an automatic index generator) and ViewSpell (spell-checker) as well as newer versions 
View Professional (1987) was a combined wordprocessor, spreadsheet and database similar to PipeDream on the Z88 Although primarily a programming language suite, Acornsoft released its P-System product featuring UCSD Pascal and Fortran 77 compilers as part of its business range  Developed by TDI for Acornsoft, the product required a 6502 second processor and disc system, preferably with two drives  Despite the £299 price, various tools including an assembler and linker were omitted from the product, these being made available in a separate Advanced Development Toolkit from TDI 

Acornsoft Languages range
Acorn systems came with a version of the BBC BASIC programming language as standard but Acornsoft also produced a wide range of other languages that could be loaded in by cassette or disc or in some cases, supplied in ROM form 

L01 FORTH (BBC 1982, Electron 1983)
L02 LISP (BBC 1982, Electron 1983, Electron ROM cartridge 1984)
L03 BCPL (BBC 1983)
L04 Microtext (BBC 1983)
L05 6502 Development System (BBC 1985)
L06 Logo (BBC 1983, Electron ROM cartridge 1985)
L07 Turtle Graphics (BBC 1983, Electron 1984)
L08 S-Pascal (BBC 1983, Electron 1984)
L09 LISP Demonstrations (BBC 1984)
L10 BCPL Calculations Package (BBC 198?)
L11
L12 BCPL Stand Alone Generator (BBC 1983)
L13 FORTH – ROM version (BBC 1984)
L14 LISP – ROM version (BBC 1982)
L15
L16
L17 PROLOG Micro (BBC 1985)
L18 ISO-Pascal (BBC 1984, Electron ROM cartridge 1985)
L19 COMAL (BBC 1984) 
L20
L21
L22 BASIC Editor (BBC 1985)
L23 Termulator (BBC 1987)
L24 ISO-Pascal Stand Alone Generator (BBC 198?)The relative performance of some of Acornsoft's languages was evaluated using a benchmark based on the Takeuchi function, Tak by former Acornsoft managing director, David Johnson-Davies, noting that "it is difficult to imagine a language that performs badly on Tak being much use for anything", illustrating a diversity amongst these language implementations in terms of readability, speed and generated code size  A follow-up article expanded the comparison to other language implementations such as Oxford Pascal, Z80 versions of BBC BASIC, Turbo Pascal and Small-C 

Acornsoft Graphics range and more
The graphics range was used to demonstrate the graphical power of the Acorn computers but only three titles were made available  The X?? code was then used for other types of software 

X01 Creative Graphics (BBC 198?, Electron 1983)
X02 Graphs & Charts (BBC 198?, Electron 1983)
X03 Picture Maker (BBC 1983, Electron 1984)
X04 Shirley Conran's Magic Garden (BBC 1983)
X05 Collector's Catalogue (BBC 198?)
X06 Membership Manager (BBC 198?)
X07 One To Nine (BBC 198?)
X08 Hooked on Numbers (BBC 1983)
X09
X10 Complete Cocktail Maker (BBC 198?, Electron 1984)
X11 Paul Daniels' Magic Show (BBC 198?, Electron 1984)
X12 100 Programs for the BBC Micro (BBC 198?)
X13 Linkword French (BBC 1984)
X14 Linkword Italian (BBC 1984)
X15 Linkword Spanish (BBC 1984)
X16 Linkword German (BBC 1984)
X17 Watch Your Weight (BBC 198?, Electron 1984)
X18 Me & My Micro (Electron 1984)The range took on various themes including Creative Sound (X26) 
Passage 10:
Blast Corps
Blast Corps is an action game developed by Rare and published by Nintendo for the Nintendo 64  In the game, the player uses vehicles to destroy buildings in the path of a runaway nuclear missile carrier  In the game's 57 levels, the player solves puzzles by transferring between vehicles to move objects and bridge gaps  It was released in March 1997 in Japan and North America  A wider release followed at the end of that year 
The game was Rare's first game for the Nintendo 64  Its development team ranged between four and seven members, many of whom were recent graduates  The team sought to find gameplay to fit Rare co-founder Chris Stamper's idea for a building destruction game  The puzzle game mechanics were inspired by those of Donkey Kong (1994) 
Blast Corps was released to critical acclaim and received Metacritic's second highest Nintendo 64 game ratings of 1997  The game sold one million copies—lower than the team's expectations—and received several editor's choice awards  Reviewers praised its originality, variety, and graphics, but some criticized its controls and repetition  Reviewers of Rare's 2015 Rare Replay retrospective compilation noted Blast Corps as a standout title 

Gameplay
Blast Corps is a single-player action video game  The player controls vehicles to destroy buildings, farms, and other structures in the path of a runaway nuclear missile carrier  The player fails if the carrier collides with an object  The eight demolition vehicles vary in the way they clear structures: the bulldozer rams, the dump truck drifts, the lightweight buggy crashes from higher ground, the tricycle shoots missiles, another truck presses outwards from its sides, and robot mechs tumble and stomp from the land and the air  The player must transfer between vehicles and other machinery to solve puzzles  Objectives include transporting timed explosive crates and bridging gaps  The game's puzzles increase in difficulty as the player progresses through its 57 levels The world is portrayed from a three-quarters overhead view  The player can adjust the game's viewable perspective with zoom and horizontal panning functions  Pop-up hints will guide the player in the early stages of the game, and other characters audibly encourage the player as each level wears on  The cheery soundtrack increases in tempo as the level's timer runs low  After completing a level, the player can return to explore without a time limit  By finding secrets and activating lights throughout the level, the player raises their score and final medal ranking  There are also secret levels hidden throughout the game, where the player completes objectives against the clock  The player can compete against a ghost copy of their previous path through a level  There are no settings to change the game's difficulty, and the game saves to both the game cartridge itself and external storage 

Plot
The game's story takes place on a parallel Earth, in which mankind lives in relative peace, until an event occurs that threatens the lives of the whole planet  The national government of an unnamed country discovers that the transportation of two defective nuclear missiles has gone wrong, after they begin leaking radiation  The automated carrier transporting them becomes damaged as a result and automatically sets itself on a direct course towards the site for a controlled detonation, effectively placing it in danger where the slightest jolt from hitting buildings or falling into pits would trigger the missiles, causing a catastrophic explosion 
To prevent this, the government hires the demolition company known as Blast Corps - founded by several former military soldiers who were stationed in the base the missiles came from, until an accident involving one of their members led the others to desert their post  Using a variety of different machines to assist them, Blast Corps assigns a new recruit to help clear the carrier's path, ensuring it can get past areas safely, while at the same time seeking out a group of missing scientists needed to conduct the safe detonation of the missiles  Dealing with an array of difficult situations, Blast Corps manages to prevent catastrophe, finding the scientists and putting an end to the threat from the missiles 
After Blast Corps successfully complete their mission, the company finds themselves contracted to help clear several buildings in a city in order to create an emergency runway for a space shuttle returning to Earth  The company successfully completes the mission, later earning a contract to clear debris on the moon, before its employees take a well-earned break after establishing a reputation for being the best demolition company in the business 

Development
Blast Corps was among Rare's first games for the Nintendo 64 and led a run of seven critically acclaimed Rare titles for the console  The game's production began in early 1996  The development team consisted of four recent graduates, though it expanded at times to seven concurrent staff  Martin Wakeley became the game's lead designer  He credited the team's small size for their easy progression from planning to market  Rare founder Chris Stamper was the impetus for the project  He had wanted to make a game about destroying buildings for years prior to Blast Corps's development  The team worked to fit his idea to a gameplay concept and devised a "Constantly Moving Object" conceit that would give the levels a time limit  This idea became the nuclear missile carrier 

Retro Gamer credited Wakeley for Blast Corps's idiosyncratic ideas and humor in light of the game's serious premise  For instance, the Mario Kart 64 "power slide" drift mechanics inspired that of Blast Corps's dump truck  Wakeley championed the drift controls against the rest of the team, who found them aggravating  The game's lead artist, Ricky Berwick, had developed the vehicle concepts without consideration for their in-game function, and the vehicles were only later retrofitted to the gameplay  One of the robot vehicles was designed without an arm because the developers had run out of computer memory to store the data and liked the look anyway  Wakeley determined the game's high score "goal medal" objectives, in which players would attempt to better a set completion time on each level  Blast Corps's Japanese and American quality assurance teams later competed to push the levels to their limits, which resulted in the game's platinum level objectives  Wakeley described these platinum challenges as "just insane" and said he could only finish four himself Wakeley saw Blast Corps as a puzzle game at its core  He was influenced by the 1994 Donkey Kong, in which the player begins each level with all the tools they need to finish but must learn how to use them  Wakeley said this was Blast Corp's core game mechanic  He was also inspired by the Super Mario 64 demo at Nintendo's annual trade show in 1995, which introduced him to the 3D analog stick and spurred him to achieve something similar  The team's technical accomplishments included character and environment models composed completely of polygons and the absence of distance fog to obscure the draw distance Nintendo published Blast Corps for their Nintendo 64  In its 1995 trade show preview, it was originally titled Blast Dozer, a name it retained for its Japanese release  (The team had considered other titles, including "Heavy Duty Heroes", "Blast Radius", and "Power Dozer" ) Blast Corps was first released in Japan on March 21, 1997, and in North America three days later  Its European and Australian release followed on December 22  The game had been in production for just over a year 

Reception
The game received "universal acclaim", according to review aggregator Metacritic, and "unanimous critical success", according to Retro Gamer  Reviewers highly praised the novelty and variety of Blast Corps's gameplay  Peer Schneider of IGN, in particular, lauded the game's originality  Trent Ward commented in GameSpot that the premise taps into childhood fantasies, while "the unique relationship between the terrain and the vehicles you pilot ensures that Blast Corps will exercise your mind as well as your reflexes" Reviewers struggled to master the game's controls  GamePro's Slo Mo praised this aspect of the game, saying that even mastering the extreme precision of the steering is fun, and rewards the player with both better gameplay technique and an appreciation for the strong distinction between the game's many vehicles  Schneider likewise overcame his initial concerns to appreciate the complexity of the controls and the differences between the vehicles  He considered the locked camera view restrictive when compared to the unrestricted 3D camera in the game's contemporaries  Schneider thought the game should have been longer, with fewer bonus levels and more main missions, though he did appreciate the pacing, design, and difficulty of the included levels  Slo Mo instead asserted that "Over 60 levels and hidden areas within hidden areas give you your money's worth"  A Next Generation critic agreed, asserting that the vast size of the levels and numerous secrets and bonus areas make Blast Corps "one of the few Nintendo 64 games that justifies its exorbitant price tag"  Shawn Smith and Sushi-X of Electronic Gaming Monthly (EGM) thought the game was repetitive, as did Computer and Video Games  The latter, though, praised Blast Corps's level design and difficulty progression  Ward had fewer reservations, writing that "basically what you have here is a game with great graphics, great sound, and a great premise  What's even more impressive is that the game doesn't really have any substantial flaws to speak of – unless you want to count lack of a two-player mode, which really isn't fair " Crispin Boyer of EGM wrote that the game's best feature was its "palpable sense of suspense" as the carrier advanced on resistant buildings Critics praised the game's graphics and sound  Schneider found the game unpretentious in comparison to video game trends of photorealistic rendering and cartoonish art  He likened the slick vehicle animations and metallic elements to Micro Machines and Rare's R C  Pro-Am  Schneider praised the game's texture maps, which made the night scenes and houses look realistic, and the canyons breathtaking  He wrote that the game's 3D programming was errorless, and was particularly pleased about the game's lack of fog, usually used to cover developer limitations  EGM echoed Schneider's praise of the deep landscapes, which Boyer called "incredible"  Scott McCall (AllGame) praised the game's realistic polygonal models and technical prowess, and Steve Polak (The Weekend Australian) wrote that Blast Corps showcased the console's graphics capabilities  Schneider described the soundtrack as between "70s pop, disaster movie score, and Country Bear Jamboree"  He praised the range of engine, tire screeching, and crashing sound effects  Reviewers disliked the country music tracks with jaw harp IGN wrote that Blast Corps exemplified qualities of enjoyable Nintendo Entertainment System and arcade games, while EGM considered the game unlike all others  Retro Gamer wrote that the game's combination of puzzles and continuous destruction made the game so unique as to defy genre classification  The magazine described the gameplay concept of returning to explore without a time limit as "a stroke of genius"  Retro Gamer thought of Blast Corps as a 3D successor to "nail-biting reaction games" such as Loco-Motion  Computer and Video Games agreed with a reader that Blast Corps was part of a "Destroy" subgenre including games like Desert Strike, Return Fire, and Body Harvest, and Matt Fox of The Video Games Guide put the game in a lineage with Highway Encounter and Lunar Jetman  Slo Mo said it was "like Pilotwings with a kamikaze twist  It's a multifaceted game that melds a slick vehicle sim and a mind-thumping action/strategy challenge with massive destructive force " Schneider said Blast Corps was on par with the quality of Shigeru Miyamoto games and an excellent display of Rare's potential  Next Generation described it as "effectively every Tonka fantasy brought vividly and explosively to life" EGM named it a runner-up for "Most Original Game of the Year" (behind PaRappa the Rapper) at their 1997 Editors' Choice Awards Blast Corps sold close to a million copies  The game sold reasonably well in Japan  Metacritic ranked the title among the top ten games released in 1997  It remained Metacritic's highest ranked 1997 Nintendo 64 game after GoldenEye 007  Blast Corps was selected as Electronic Gaming Monthly's May 1997 Game of the Month and an IGN Editors' Choice  Later the same year, Electronic Gaming Monthly ranked it number 93 on their 100 best console video games of all time, remarking, "C'mon, not only are you driving all the vehicles you thought were mega cool as a kid – you're using 'em to plow through buildings " Four of six Nintendo Power reviewers recommended the game 

Legacy
Wakeley, the game's designer, considered making a sequel as an action combat game, but thought the concepts behind Blast Corps had been fully exhausted  After praising the game in a 2010 Rare retrospective feature, Retro Gamer's writers craved a sequel  The magazine said the title was proof of the company's inventiveness  Steve Ellis, who was a programmer at Rare, thought Blast Corps to be among the company's most underrated games, and though its physics were now dated, he continued to find the game fun enough to revisit regularly  Blast Corps is included in Rare Replay, a compilation of 30 Rare titles, released on the Xbox One on August 4, 2015  The release's bonus features included behind-the-scenes interviews with Blast Corps's developers  Blast Corps was a standout favorite among Rare Replay reviewers Rare's Blast Corps began a run of highly praised Nintendo 64 games, including GoldenEye 007, Banjo-Kazooie, Perfect Dark, and Jet Force Gemini  Retro Gamer wrote that Rare had doubled the number of classic Nintendo 64 games and was an important alliance for Nintendo  Microsoft acquired Rare in 2002 for a record price of $377 million  After the industry had changed, Blast Corps designer Martin Wakeley reflected a decade after the game's 1997 release  In 2009, Wakeley said, a studio would rarely entrust the scope of a project like Blast Corps to a team of four recent graduates The staff of Nintendo Power (1997) and IGN (2014) both listed Blast Corps in the bottom halves of their top 100 Nintendo games of all time  Official Nintendo Magazine ranked the game 84th on a list of the greatest Nintendo games 
Passage 11:
The Long Week-End
The Long Week-End is a social history of interwar Britain, written by Robert Graves and Alan Hodge  It was first published in 1940, just after the end of the period it treats 
Their story covers a wide range of popular and social themes, including politics, business, science, religion, art, literature, fashion, education, popular amusements, domestic life, sexual relations, and much else The Long Week-End has gone through several reprints, the latest in 2009 by the Folio Society 
Historian Adrian Tinniswood named his 2016 book, The Long Weekend: Life in the English Country House, 1918–1939, after it 

Reception
In a contemporary book review in the peer-reviewed Journal of Modern History, William D  Clark wrote, "To write a social history of England from the newspapers of the last twenty years… demands extraordinary powers of selection and interpretation  Mr  Graves has given us proof that he possesses such powers, but unfortunately in this book he resolutely refuses to use them, misled perhaps by the ideals of the Mass-Observation school  The result is a strange unfocused photograph of the times, in which, although the 'camera-eye' has not lied, it has failed entirely to introduce any perspective or integration " A 1941 review by Kirkus Reviews summarized the book with; "a graphic panorama of fads, fancies, facts, foibles and fingerposts along the way from war to war    Thoroughly good reading of the background of those years, if one wants to look back "
Passage 12:
Linguistics (journal)
Linguistics: An Interdisciplinary Journal of the Language Sciences is a peer-reviewed academic journal of general linguistics published by De Gruyter Mouton  The journal publishes both articles and book reviews  It  publishes two special issues a year  The current Editor-in-Chief is Johan van der Auwera  Since 2010, it publishes 1400 pages per year 

History
Linguistics was started in 1963 by Mouton Publishers in The Hague, apparently on the initiative of Mouton's Peter de Ridder as well as linguist C H  van Schooneveld  In 1979, after Mouton had been bought by Walter de Gruyter, a new editorial board was established, consisting of Brian Butterworth, Bernard Comrie, Östen Dahl, Norbert Dittmar, Flip Droste, Jaap van Marle, and Jürgen Weissenborn  De facto, Brian Butterworth was editor-in-chief between 1979 and 1982  From 1982 through 2005, the editor was Wolfgang Klein, who was succeeded by Johan van der Auwera 

Abstracting and indexing
The journal is abstracted and indexed in:

The journal has a Thomson Reuters 2015 impact factor of 0 763 and a 5-year impact factor of 0 872 



ground_truth: 1986

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who sings Home Alone Tonight with the singer of "I Don't Want This Night to End"?

The following are given passages.
Context 2: Passage 1:
Rockin' You Tonight
Rockin' You Tonight is the second studio album by American country music artist Blaine Larsen  Released in 2006 on BNA Records (in association with Giantslayer Records), the album produced two singles for Larsen on the Hot Country Songs charts: "I Don't Know What She Said" and "Spoken Like a Man", which respectively reached number 24 and number 42  Also included is a cover of Mac Davis's "Baby, Don't Get Hooked on Me", as well as "I'm in Love with a Married Woman", which was previously recorded and released as a single by Mark Chesnutt from his 2002 self-titled album  "Let Alone You" was later recorded by Easton Corbin on his eponymous debut album in 2010 

Track listing
Personnel
Eddie Bayers - drums, percussion
Spady Brannan - bass guitar
Perry Coleman - background vocals
Mickey Jack Cones - background vocals
J T  Corenflos - baritone guitar, electric guitar
Stuart Duncan - fiddle, mandolin
Kevin "Swine" Grantt - bass guitar
Tommy Harden - drums, percussion
Blaine Larsen - lead vocals
Chris Leuzinger - baritone guitar, electric guitar
Bill McDermott - electric guitar
Brent Mason - electric guitar
Jimmy Nichols - accordion, Hammond organ, piano, synthesizer horns, Wurlitzer
Danny Parks - electric guitar
Biff Watson - acoustic guitar, nylon string guitar, hi-string guitar
Gretchen Wilson - duet vocals on "Lips of a Bottle"
Lonnie Wilson - drums, percussion
Glenn Worf - bass guitar

Chart performance
Album
Passage 2:
Saturday Night Footy
In Australia, Saturday Night Footy (formerly as Saturday Night Football) is the broadcasting of Australian Football League (AFL) Saturday night matches on television  Saturday Night Footy is generally considered to be one of the biggest stages and generates publicity for the clubs involved  It is for this reason that clubs involved generally want to perform at their best to avoid large-scale criticism from the media  The Seven Network has held the primary broadcast rights for the AFL since the start of the 2012 season 
The commentary team is led by Basil Zempilas, Cameron Ling, Luke Darcy and Matthew Richardson  Samantha Lane provides reports during the match and also features as a reporter during the pre-match segment, which runs for 45 minutes (or one hour for matches played in Adelaide or Perth) before the match is played  Dr  Peter Larkins provides injury updates during and after the feature match  The show begins at 6:30pm every Saturday night, immediately following Seven News in most markets 
The pre-match show, titled The Kick, is anchored by Darcy and runs for one hour in the lead-up to the feature match  This portion of the telecast includes, among others, segments such as: interviews with players and the coaches involved in the feature match, going behind the scenes of a team's training session, and featuring various celebrity guests  Rachael Finch, Lleyton Hewitt and Redfoo, among others, have featured as guests on Saturday Night Footy The post-match show, anchored by Darcy, reviews the match in detail and includes interviews with the players and coaches from both sides  The team also crosses to Sam McClure, at Footy Central, to recap the rest of the day's matches, and also to provide injury and player updates from those matches 
The original Saturday Night Footy telecast may not air into some states, as the current broadcasting contract requires the local teams to be televised into their respective states (for example, Saturday night matches involving the Brisbane Lions must be televised into Queensland)  The pre-match show may also be omitted from the schedule if a local team's match being played in the twilight timeslot (i e  4:35 pm) is televised and overlaps into the 6:30pm timeslot 
During Seven's exclusively live broadcast of the AFL Grand Final as part of the 2012-2016 Broadcast Deal, the Saturday Night Footy team host both the pre-match show and the post-match show 
In 2018, James Brayshaw will join the Saturday Night Footy team 

See also
Friday Night Football (AFL)
Passage 3:
Lopez Tonight
Lopez Tonight is an American late-night television talk show that was hosted by the comedian George Lopez  The hour-long program premiered on November 9, 2009, on cable network TBS   Lopez was the first Mexican-American to host a late-night talk show on an English-language network in the United States  The show featured audience interaction using a high-energy format  The program aired Monday through Thursday at midnight Eastern and Pacific, immediately following Conan  On August 10, 2011, TBS announced that Lopez Tonight would be canceled  The final episode aired the following night 

History
Phillip Kent, the chief executive of TBS, announced in March 2009 that George Lopez had signed a contract to host his own late-night talk show on TBS in November of that year  During interviews, Lopez said that he would bring the change to late-night television and that he wants the show to reach a diverse audience  He also stated that he would become the first Hispanic American to host a late-night talk show  The show debuted on November 9, 2009, with guests Kobe Bryant and Eva Longoria, as well as a special appearance from Ellen DeGeneres and a musical performance from Carlos Santana 

Arrival of Conan O'Brien and cancellation
The 2010 Tonight Show conflict resulted in Conan O'Brien's departure from NBC and The Tonight Show  Jay Leno returned to The Tonight Show, abandoning his prime time experiment, The Jay Leno Show  As a part of his severance deal, O'Brien was given a $32-million payout, a $12-million payout for his show's staff, and the ability to pursue options on other channels after September 1, 2010 
Hours before O'Brien's Legally Prohibited from Being Funny on Television Tour, O'Brien officially announced he had signed with TBS to create his own late-night talk show at 11:00 pm beginning in November 2010, thus pushing Lopez Tonight back to midnight  O'Brien was hesitant at first, saying he didn't want to do that to Lopez after what NBC had done to him, but Lopez himself called him and persuaded him to take the job  On the April 12 edition of Lopez Tonight, George addressed the situation by saying, "I was on Team Coco, now I'm on Team Loco!" 
However, the move caused a steep decline in ratings  On August 10, 2011, TBS canceled Lopez Tonight effective at the end of the week  O'Brien said of the announcement on his show, taping just hours after it was confirmed:

"I want to take one second right now and talk about something serious  Today, not long ago—a couple of hours ago—it was announced that TBS is not renewing George Lopez's show for a third season  I have very strong feelings about this, and I wanted to talk about it  Had it not been for George being so incredibly supportive of me a year and a half ago, I would not have come to TBS and we would not be doing this show right now  I owe that man a lot, and frankly, it makes me very sad that TBS and George could not work this out  I really like being a part of a late-night lineup with George, and I wish that this could've continued  So, tonight, all of our thoughts are with George and his entire staff and crew  We understand, believe me, how hard this is for all of you, and we wish you all the best "

Format
The show followed the established six-piece format established by the likes of Steve Allen and Johnny Carson  The first segment included a monologue by Lopez, sometimes accompanied by several one-liners, or several brief comedy sketches  Most episodes also included a second segment, immediately after the monologue, with a full comedy sketch  An interview with either one or two guests followed, as well as a musical or comedy performance 

Recurring segments
Sketches introduced on the show include Bullet Wound or Not a Bullet Wound, a stereotypical game show similar to Jay Leno's "Jaywalking" where guests must answer seemingly racist questions, Creepy Little White Girl in which a horrific little girl appears on the stage to deliver bad news, The Jersey Shore Presents, a mocking piece where cast members of Jersey Shore star in hit movies, Sweet Tweets where Lopez answers questions submitted from Twitter, WWE Superstars Karoake where many WWE Superstars performed karaoke songs, Justin Bieber's Memories a segment that mocks Justin Bieber and his childhood, and "Eric Estrada" where colored lights flash and various guests, including Benjamin Bratt and Jon Cryer come out of the double doors in a California Highway Patrol motorcycle uniform 

Timeline
November 9, 2009 — Lopez Tonight debuts with guests Eva Longoria and Kobe Bryant as well as a special appearance by Ellen DeGeneres, and a musical performance from Carlos Santana, who performed "Oye Como Va" 
November 12, 2009 — Comedian Larry David appears on the show and takes a DNA test revealing his results to be 63 percent European and 37 percent Native American 
November 25, 2009 — George officially announces that Arsenio Hall would become the permanent guest host of Lopez Tonight 
December 15, 2009 — A special reunion episode, featuring the main cast of George Lopez  Musical guests War performed "Low Rider", the theme song to the former show as well as Lopez Tonight 
January 18, 2010 — Jennifer Lopez performs the opening monologue for Lopez Tonight, addressing the 2010 Tonight Show conflict, beginning with "Welcome to Lopez Tonight, where nobody gets fired"!
April 1, 2010 — As part of an April Fool's Day joke, musician Usher corrected Lopez after incorrectly stating he had two kids, saying that he had three, and went on to say that how upset he was when people didn't get their facts straight, however Usher revealed it to be a joke and that he did indeed have two kids 
April 12, 2010 — George Lopez announces that beginning in November 2010, Conan O'Brien will officially join TBS for his own late-night talk show which will push Lopez Tonight back one hour from 11:00 pm to midnight 
June 24, 2010 – Lopez Tonight celebrates its 100th episode, with guests Kobe Bryant and Louis C K  with special appearances from Arsenio Hall, Clint Eastwood, Tom Cruise, Donald Trump, Russell Brand, and Eddie Van Halen  At the end of the show, George alongside his band performed the Van Halen song "Panama" 
August 18, 2010 – George Lopez bets Bow Wow $25,000 to charity that the Los Angeles Lakers would beat the Miami Heat on Christmas Day 
October 19, 2010 – The cast of Jackass 3D appears on the show 
November 3, 2010 – Conan O'Brien officially appears on the show promoting his new talk show, Conan, which moves Lopez Tonight to midnight 
November 4, 2010 – Lopez Tonight celebrates its last show in the 11:00PM time slot as it prepares to move to 12:00AM in order for the arrival of Conan  Guests on the show were Andy Richter, Bret Michaels, and a musical performance from Good Charlotte 
November 8, 2010 – Lopez Tonight airs its first show in the midnight time slot  The show features many changes including a new opening sequence as well as a new set  Guests on the show included Janet Jackson, Antoine Dodson, and a musical performance from Rooney 
August 10, 2011 – Lopez Tonight is canceled by TBS with the series finale airing August 12, 2011 
August 15, 2011 – Repeats of The Office filled in the former Lopez Tonight timeslot after several weeks of his show repeats 
August 18, 2011 – The official TBS Lopez Tonight website was taken down and currently redirects the site to tbs com 

Production
Studio and set design
The show was taped at Warner Bros  Studios in Burbank, California, near The Ellen DeGeneres Show studio  The stage layout followed a street-party theme  The show differed from many other late-night talk shows, most notably for not featuring a desk or background of the city in which the show is taped 

House band
Lopez Tonight's house band was Michael Bearden and the Ese Vato's, who are famous for performances with Michael Jackson and Shakira  The band consisted of leader and keyboard player Michael Bearden, guitarist Tommy Organ, bass player Alex Al, percussionist Lenny Castro, trumpeter Bill Churchville, drummer Robin DiMaggio, and saxophonist Sean Holt  As in common talk show format, Michael Bearden and the Ese Vato's would perform the show's opening and closing theme, bumpers into and out of commercial breaks  The show's opening theme was "Lowrider" by the band War, which was also the theme song for George Lopez 

Reception
The show has been critically panned  Metacritic scored the show with a 39/100 based on six reviews  
Matthew Gilbert of The Boston Globe claims "Lopez has a full-throated energy and a weakness for sophomoric guy humor that can be grating, especially since his show will air Monday through Thursday nights " The New York Times says "Mr  Lopez said he was 'bringing change to late-night TV,' but the only significant change was a coarsening of the already crass atmosphere "

See also
List of Lopez Tonight episodes
Passage 4:
I Don't Want This Night to End
"I Don't Want This Night to End" is a song co-written and recorded by American country music artist Luke Bryan  It was released in September 2011 as the second single from his album Tailgates & Tanlines  The song, written by Bryan, Rhett Akins, Dallas Davidson and Ben Hayslip, is a "guy meets girl" love story 
The song received positive reviews from critics who praised the simplistic writing and catchy chorus  "I Don't Want This Night to End" peaked at number one on the US Billboard Hot Country Songs chart, giving Bryan his third number-one country music hit in both charts and starting a streak of eighteen consecutive number one hits for him  This streak ended in 2019 when "What Makes You Country" peaked at number 7 on Hot Country Songs, and number 2 on Country Airplay  It also charted at number 22 on the Hot 100 chart, the same position as his previous single "Country Girl (Shake It for Me)"  The song was certified 4× Platinum by the Recording Industry Association of America (RIAA), and has sold 2,730,000 copies in the United States as of August 2015  The song achieved minor chart success in Canada, peaking at number 48 on the Canadian Hot 100 chart  It also garnered a Platinum certification from Music Canada, selling over 80,000 copies in that country 
The accompanying music video was directed by Shaun Silva and features actress Cameron Richardson as Bryan's love interest 

Content
Bryan told The Boot that the song is about "a guy meeting a girl, and it's the first night that they're hanging out  It's a magical night and he doesn't want it to end  It's got a big fun chorus in it " He co-wrote the song with Rhett Akins, Dallas Davidson, and Ben Hayslip, collectively known as The Peach Pickers  After Hayslip provided the title, Bryan began playing a melody on a guitar  Hayslip then said that his publisher, Randy Gaston, recommended that he write "a song that talks about putting your hands up in the chorus" The song is set in the key of A minor and has a moderate tempo of approximately 112 beats per minute  The verses use a chord pattern of Am-G-Fsus2 three times, with a C-G-F pattern twice on the chorus followed by the original pattern of Am-G-Fsus2 twice  It ends on the Fsus2 chord 

Critical reception
Billy Dukes of Taste of Country gave the song four stars out of five, calling the chorus "pretty memorable" and saying that the writers "did a nice job of not over-thinking things " Matt Bjorke of Roughstock gave the song three and a half stars of five, writing that the chorus is "infectious and sing-a-long ready" and the song is "strong, well-written" and "sounds great on the radio, just like it will in concerts "Billboard and American Songwriter ranked "I Don't Want This Night to End" at number four and number one, respectively, on their lists of the 10 greatest Luke Bryan songs 

Music video
The music video was directed by Shaun Silva and premiered on November 8, 2011  Bryan portrays a country music star who falls for a new girl (played by actress Cameron Richardson) while he is home from the road  The video is a prequel to the music video for "Drunk On You" which was later released as a single 

Commercial performance
"I Don't Want This Night to End" debuted at number 44 on the U S  Billboard Hot Country Songs chart for the week of September 17, 2011  It debuted at number 90 on the U S  Billboard Hot 100 chart for the week of October 15, 2011  The song was certified five times platinum by the RIAA on August 3, 2020  As of August 2015, the song has sold 2,730,000 copies in the US It debuted at number 80 on Canadian Hot 100 chart for the week of November 5, 2011 

Charts and certifications
Passage 5:
Home Alone Tonight
"Home Alone Tonight" is a song recorded by American country music artist Luke Bryan as a duet with Karen Fairchild of American country music group Little Big Town for his fifth studio album, Kill the Lights (2015)  Upon the release of the album, the song entered the Billboard Hot Country Songs chart at number 33 on the strength of digital downloads  It was serviced to American country radio on November 23, 2015 as the album's third official single  The song was written by Jody Stevens, Cole Taylor, Jaida Dreyer and Tommy Cecil 

Live performances
Bryan and Fairchild performed the song live at the 2015 American Music Awards 

Content
The song is a mid-tempo ballad in which a man and woman meet in a bar and plot revenge on their former lovers together 

Critical reception
An uncredited review from Taste of Country was favorable, stating that it "features more progressive production than 'Strip It Down,' but isn’t quite as edgy as 'Kick the Dust Up ' One would hardly call the arrangement organic, but that fits the mood  The two spontaneous lovers promise they won’t regret what’s to come, even though both know it’s not true  It’s an inevitability that many will relate to "

Commercial performance
The song debuted at number 33 on the Billboard Hot Country Songs chart dated of August 29, 2015, the week the album was released, selling 13,000 copies in its first week  It debuted at number 55 on the Country Airplay chart dated of November 14, 2015 in anticipation of its official release  After Bryan and Fairchild performed the song on the 2015 American Music Awards, it debuted at number 97 on the Billboard Hot 100 chart dated of December 12, 2015, selling 16,000 copies  It became Bryan's thirteenth consecutive (and fifteenth overall) number one country music single on the Country Airplay chart dated of February 13, 2016  The song has sold 441,000 copies in the US as of April 2016 

Charts
Certifications
Passage 6:
Eliza Biscaccianti
Eliza Biscaccianti (1824 – July 1896) was an American operatic soprano from Boston, Massachusetts  Born Eliza Ostinelli, she was the daughter of pianist Sophia Hewitt Ostinelli, the only woman to have ever been employed as an organist and accompanist by Boston's Handel and Haydn Society and the second musician ever to perform the work of Beethoven in Boston, and Louis Ostinelli, a native of Italy who became a second violinist with, and later a conductor of, the Handel and Haydn Society  Her uncle was composer John Hill Hewitt and her grandfather was conductor, composer and music publisher James Hewitt She was nicknamed "The American Thrush" 

Musical training, marriage and singing career
From 1842 to 1847 Biscaccianti studied singing in Italy, most notably with Giuditta Pasta  She made her professional opera debut at Teatro Lirico in Milan in May 1847 as Elvira in Ernani  While in Italy she married the Italian cellist Count Alessandro Biscaccianti  They returned to the United States in late 1847 when Biscaccianti was offered a contract at the Astor Opera House in New York City  She made her debut at the Astor opera house as Amina in La sonnambula  She was later heard that season in the title role of Lucia di Lammermoor After the Astor Place Riot in 1849, she returned to her native city of Boston where she was lauded for her opera performances  She then toured to San Francisco in 1852 where she was one of the star performers in the fledgling opera scene in that city during 
Madame Biscaccianti received from a large and highly intelligent audience, on the occasion of her re-appearance, last evening, one of the most flattering welcomes that we have ever seen bestowed upon a public favorite  It was her first concert in several weeks, and she had barely recovered from an illness which still left its enfeebling effects upon her frame; but her voice was strong, pure and exquisitely flexible, and her spirits buoyant and animated  She sang with a degree of fervor and expression that called for the most enthusiastic testimonials, in the forms of plaudits, "bravos" and bouquets, from a delighted auditory  Her execution, too, was brilliant and artistic; and we see no reason to change the opinion we expressed many months since, after one of the fair Signora's 'Benevolent Concerts'; that the strength and purity of her tones and her brilliancy of style and execution continually increase, and her increasing success is manifest at every concert given by Madam B  in this city 
According to Verdi historian, George Martin:
Because she had been born in Boston of a New England mother, Biscaccianti was known popularly as "The American Thrush," but she had studied in Europe and sung in Paris, Milan, St  Petersburg, and London, founding a claim to be the first American to sing opera in Europe  In the ten months that she remained in California she sang at least seventy recitals, thirty-five in San Francisco, thirteen in Sacramento, seven in Stockton, and the balance in smaller towns 
In 1853 Biscaccianti performed in operas in South America, including in Lima, Peru  After retiring from the stage she taught singing in Milan  In her elder years she lived in a home for artists in Paris that was supported by a foundation in memory of Rossini 

Death
By the time of her death in 1896, according to Ammer, Biscaccianti was impoverished  She died, aged 72, at the Rossini Foundation Home for Musicians in Paris 

Notes
Passage 7:
Don't Let Me Be Lonely Tonight
"Don't Let Me Be Lonely Tonight" is a song written and performed by American singer-songwriter James Taylor, from his 1972 album One Man Dog  
The song has been included on three of Taylor's greatest-hits collection albums: Greatest Hits (1976), Classic Songs (1987) and The Best of James Taylor (2003)  Taylor re-recorded the song for the 2001 Michael Brecker album Nearness of You: The Ballad Book; this rendition won Taylor the Grammy Award for Best Male Pop Vocal Performance in 2002 

Personnel
James Taylor – lead vocals, acoustic guitar
Danny Kortchmar – electric guitar
Craig Doerge – piano
Lee Sklar – bass guitar
Russ Kunkel – drums, congas
Michael Brecker – tenor saxophone

Reception
Billboard described "Don't Let Me Be Lonely Tonight" as a "ballad beauty " Record World called it a "superb lilting ballad featuring stunning Peter Asher production work and a terrific saxophone finale "  AllMusic reviewer Bill Janovitz wrote that the song is "a stunning example of the Tin Pan Alley-type of jazzy romantic ballad", and that the song's lyrics, about "a betrayed lover who allows his lonely heart to control his head", were unusual in that songs on that theme were usually performed by female artists  Berwyn Life critic Steve Sparacio said that it "is simply one of the most beautiful ballads in existence "

Chart performance
It was released as the lead single from the album, and peaked at No  14 on the U S  Billboard Hot 100, reaching its peak position on January 13, 1973   It also reached No  3 Easy Listening  In Canada, the song reached No  18 on the Pop Singles chart and No  7 AC 

Covers and samples
The song has been recorded by the following artists:

Johnny Mathis, on Me and Mrs  Jones (1973)
Liza Minnelli, on The Singer (1973), her best-selling album
The Isley Brothers, on their platinum-selling album 3 + 3 (1973)  This version was done in 12/8 time, with a rhythm and blues feel 
Nancy Wilson, on Come Get to This (1975)
Isaac Hayes, on For the Sake of Love (1978), in a 7-minute, funk-infused version with a long instrumental introduction  The instrumental portion has been sampled in songs including "You Keep Leading Me On" by Mona Lisa (1996), "Rhyme No More" by Jay-Z (1997), "It's All Mo' Thug" by Bone Thugs-n-Harmony (1997) and "Lovin You (On My Mind)" by Slim Thug featuring Z-Ro (2013) 
Mary MacGregor, on    In Your Eyes (1978)
Scottish band Wet Wet Wet on their debut album Popped in Souled Out (1987)
Brazilian jazz-bossa nova singer Kenia recorded and released her own revival in 1987 
Oleta Adams, on Evolution (1992)
Michael Brecker, on Nearness of You: The Ballad Book (2001)
Eric Clapton, on Reptile (2001)
Joe Cocker, on Heart & Soul (2005)
Euge Groove, on Livin’ Large (2004)
David Sanborn featuring Lizz Wright on Closer (2005)
Diane Schuur on Schuur Fire (2005)
Jazz saxophonist Boney James, on Send One Your Love (2009)  Vocals were by Quinn, in a style similar to the Isley Brothers' version  It was released as a single, and was nominated for the Grammy Award for Best Traditional R&B Performance in 2010, losing to Beyoncé's cover of "At Last" 
Garth Brooks, on The Melting Pot album of the compilation box set Blame It All on My Roots: Five Decades of Influences (2013)
Jazz singer and bassist Kristin Korb on the album What If (2021)

Other cover versions
"Don't Let Me Be Lonely Tonight" has also been performed live by artists including George Benson, Pat Metheny, and Earth, Wind & Fire 
Passage 8:
Silly Love Songs (Glee)
"Silly Love Songs" is the twelfth episode of the second season of the American musical television series Glee, and the thirty-fourth overall  The Valentine's Day-themed episode was written by series creator Ryan Murphy, directed by Tate Donovan, and premiered on Fox on February 8, 2011  In this episode, Director Will Schuester (Matthew Morrison) assigns the McKinley High School glee club to perform love songs in honor of Valentine's Day  Club member Finn Hudson (Cory Monteith) sets up a kissing booth for the occasion, to take advantage of his rising popularity and raise money for the club  At the Dalton Academy, Blaine Anderson (Darren Criss) and the Dalton Academy Warblers make plans to perform a musical number outside of the campus, and Kurt Hummel (Chris Colfer) confesses his love for Blaine 
"Silly Love Songs" was met with critical acclaim, with much of the praise stemming from the character development and the musical performances  Melissa Maerz of the Los Angeles Times, Emily VanDerWerff of The A V  Club, and Lisa de Moraes of The Washington Post all deemed the storyline as entertaining, while Joel Keller of the TV Squad went on to call the episode "the best episode of the season " The episode features cover versions of six songs, including a cover of "P Y T " by Michael Jackson and "My Funny Valentine" from the musical Babes in Arms  Many of the covers and performances were met with positive reception from critics and fans alike, with much of the praise going to the Glee covers of "Fat Bottomed Girls" by Queen and "Silly Love Songs" by Paul McCartney, respectively  All songs with the exception of "My Funny Valentine" were released as singles and made available for digital download 
Upon its initial airing, the episode was watched by just under 11 58 million American viewers, and it garnered a 4 6/13 Nielsen rating/share in the 18–49 demographic  Both the total viewership and ratings were significantly down from the previous episode, "The Sue Sylvester Shuffle", which aired immediately after the Super Bowl 

Plot
Glee club director Will Schuester (Matthew Morrison) gives New Directions a love song assignment  Having fallen for the group's newest member Lauren Zizes (Ashley Fink), Puck (Mark Salling) serenades her with Queen's "Fat Bottomed Girls"  Lauren finds his song choice insulting and stands him up on a pre-Valentine's date, but eventually agrees to spend Valentine's Day with him as friends 

Artie Abrams (Kevin McHale) and Mike Chang (Harry Shum Jr ) celebrate their respective relationships by performing Michael Jackson's "P Y T  (Pretty Young Thing)" for their girlfriends, Brittany Pierce (Heather Morris) and Tina Cohen-Chang (Jenna Ushkowitz)  Tina later begins to sing "My Funny Valentine" to Mike, but is too overcome with emotion, and begins to cry while continuing to sing 
Finn Hudson (Cory Monteith) sets up a kissing booth, to take advantage of his popularity in the hope of kissing his ex-girlfriend Quinn Fabray (Dianna Agron)  He also wants to donate the proceeds to the glee club  Quinn initially refuses to buy a kiss from Finn, but does so at the insistence of her boyfriend Sam Evans (Chord Overstreet), who is suspicious of their relationship  The kiss further re-ignites Finn and Quinn's feelings for one another, and they begin an affair  Santana Lopez (Naya Rivera), angry for having recently had her bad behavior highlighted by the other club members, conspires to give them mono and reveal Quinn's infidelity  Finn's most recent ex-girlfriend Rachel Berry (Lea Michele) is dismayed by his renewed feelings for Quinn, but resolves to concentrate on her career instead of romance, and leads the female New Directions members in a performance of Katy Perry's "Firework" 
At Dalton Academy, a private school attended by former New Directions member Kurt Hummel (Chris Colfer), the object of his affection Blaine Anderson (Darren Criss) announces his intention to sing a love song to his crush  Kurt believes that Blaine has feelings for him, so is disappointed when his crush turns out to be Jeremiah (Alexander Nifong), the assistant manager at a local Gap store  The Dalton Academy Warblers accompany Blaine as he serenades Jeremiah with Robin Thicke's "When I Get You Alone"  Jeremiah is subsequently fired and rebuffs Blaine  Kurt confesses his feelings to Blaine, who tells Kurt that he cares for him but is terrible at romance, and does not want to risk damaging their friendship  The episode ends with New Directions assembled at Breadstix, a local restaurant, where the Warblers perform the titular "Silly Love Songs" 

Production
"Silly Love Songs" was first announced by Glee co-creator Ryan Murphy in an interview with a German journalist  The name of the episode and its airdate were announced shortly after the announcement of the show getting a short-term hiatus due to various cast members contracting the flu  Inspiration for the episode may be partially related to a lobbying effort by Paul McCartney to have covers of songs by The Beatles incorporated into Glee  In an interview with various reporters at the 2010 Teen Choice Awards, Murphy revealed that he received a mixtape that was sent from McCartney, who is reportedly a fan of the series  Recurring characters who appear in this episode include glee club members Mike Chang (Harry Shum, Jr ), Sam Evans (Chord Overstreet), and Lauren Zizes (Ashley Fink), football coach Shannon Beiste (Dot-Marie Jones), and Blaine Anderson (Darren Criss) the lead singer of the Dalton Academy Warblers "Silly Love Songs" features cover versions of six songs: Katy Perry's "Firework", Queen's "Fat Bottomed Girls", Michael Jackson's "P Y T  (Pretty Young Thing)", "My Funny Valentine" from the musical Babes in Arms, "When I Get You Alone" by Robin Thicke, and "Silly Love Songs" by Paul McCartney and his band Wings  This was the fourth time a song by Katy Perry was used in a Glee episode, with the previous covers being "I Kissed a Girl" in the pilot, "Teenage Dream" on the episode "Never Been Kissed" and "California Gurls" on the previous episode "The Sue Sylvester Shuffle"  All songs with the exception of "My Funny Valentine" were released as singles and made available for digital download  All five singles were included on Glee soundtrack albums: "Firework", "P Y T  (Pretty Young Thing)", and "Fat Bottomed Girls" were featured in the sixth soundtrack album, Glee: The Music, Volume 5, while "Silly Love Songs" and "When I Get You Alone" were featured on the seventh, Glee: The Music Presents the Warblers 

Reception
Ratings
"Silly Love Songs" was originally broadcast in the United States on Fox on February 8, 2011  It received just under 11 58 million American viewers upon its initial airing, despite airing simultaneously with NCIS on CBS, The Biggest Loser on NBC, No Ordinary Family on ABC, and One Tree Hill on The CW  It garnered a 4 6/13 Nielsen rating/share in the 18–49 demographic, the highest rating of the night  This episode's total viewership and ratings were significantly down from the previous episode, "The Sue Sylvester Shuffle", which was watched by over 26 8 million American viewers and received an 11 1/29 rating/share in the 18–49 demographic In Canada, where it also aired on February 8, 2011, the episode was watched by over 2 08 million viewers  It ranked number ten in the most-watched television programs of the week  The total viewership slightly declined from the previous episode, which attained 2 16 million viewers, as well as being the ninth most-watched television program of the week  In Australia, where the episode aired on February 21, 2011, it was viewed by 921,000 viewers upon its initial airing  It was the eleventh most-watched program on the night  The episode's total viewership declined at a marginal rate from the previous episode, which drew 1 13 million viewers, and was the fourth most-watched program of the night and the most-watched in the 18–49 demographic  It placed tenth in the weekly viewership rankings  In the UK, the episode was watched by 2 629 million viewers (2 233 million on E4, and 396,000 on E4+1), becoming the most-watched show on E4 and E4 +1 for the week, and the most-watched show on cable for the week 

Critical response
"Silly Love Songs" was met with critical acclaim from many television critics upon its initial airing  Erica Futterman of Rolling Stone gave a very positive review of the episode, and wrote, "This was our favorite type of Glee episode  Though we enjoy over-the-top spectacles [   ], the show's real cleverness shines when they take songs from across the board and fit them into a cohesive storyline  Sue Sylvester didn't make an appearance and—dare we say it—we didn't even miss her " Bobby Hankinson of the Houston Chronicle enjoyed the episode, going on to write, "I thought it was a strong showing, if a little disjointed  Well, at least it was honest  If this show is one thing, it's disjointed  It's part of its spazzy appeal " Melissa Maerz of the Los Angeles Times gave the episode a positive review: "On Tuesday night, Glee wasn’t only back at its usual time, it was back to doing what it does best: giving us entertaining [   ] storylines involving characters we care about who sing songs that emerge organically and advance the story  It was like a perfect heart-shaped bubble of an episode reminding the show’s fans about all the things we’ve missed about the show these last couple of months "Robert Canning of IGN also gave the episode a positive review, and opined, "With the dissing of glee club temporarily put on hold, Glee the series was able to have a little fun with Tuesday night's episode  And fun it was, with the gang of New Directions taking on Valentine's Day, with flirting, kissing and, of course, singing  Without the bullying, this was a much lighter episode of Glee, and the results gave way to a lot more laughs and story development " He went on to praise Ashley Fink's performance as Lauren Zizes, and said of Puck's falling in love with Lauren, "I can't decide if I want to root for this couple, but I certainly know I'm going to be rooting for Lauren " Canning ultimately gave the episode an 8 5 out of 10  Wyndham Wyeth of Paste went on to praise the episode for its depiction of relationships in high school, as well as the backing vocals for Salling's performance of "Fat Bottomed Girls" by Queen  Emily VanDerWerff of The A V  Club gave the episode a positive review and a grade of "A−": "'Silly Love Songs' is a fine example of the show at what's very nearly its absolute best  There's nothing too heady here, but if the show has one tone that it's nailed almost completely consistently, it's the feeling of teenage romance, the sense that the person you're in love with is the only person you will ever be in love with [   ] followed almost immediately by the crippling feeling of heartbreak, of losing that person too soon  Teenage life moves fast and is filled with heightened emotions  And like most musicals, Glee has always been at its best when it embraces those two sides of its characters' lives  As such, 'Silly Love Songs', which is pretty much just an excuse to play around with the show's many romantic pairings among its glee club characters, is a lot of fun without trying all that hard " In conclusion of her review, she wrote, "The best episodes play that elation and devastation off of each other  The worst episodes flounder about for some sort of emotional foothold  But when Glee just tells small, sweet stories about these kids and the ways they're trying to cope with being in high school when they know they're meant for bigger things, it can be terrific  Tonight was one of those episodes, and tonight's episode was terrific  Here's to a good February sweeps "

Matt Richenthal of TV Fanatic gave the episode a 4 6 out of 5 stars, and went on to describe the episode as "A funny, touching, entertaining Glee episode that didn't feature a single line from Sue Sylvester? I never thought I'd see the day  But that's exactly what transpired on 'Silly Love Songs', as the show stopped feeling like a Public Service Announcement for a week and actually focused on well-paced, well-written relationship developments among its core characters " Joel Keller of TV Squad gave the episode a positive review, and wrote, "'Silly Love Songs' strikes an interesting contrast to Sunday night's post-Super Bowl episode in that tonight was more about the kids and where they are in their stories than about big production numbers and Sue's cartoon evilness  It was also the funniest episode of the season, in no small part because we got some insight into the lives of two New Directions members we rarely get to hang out with for any length of time: Santana and Lauren " James Poniewozik of Time Magazine praised the storyline and the musical performances of the episode  However, Soraya Roberts of the Daily News gave the episode a negative review: "This show sometimes sounds like it was written by a PIT, prime idiot TV writer  It's almost as bad as Tina breaking down into tears for no reason while singing 'My Funny Valentine' to Mike and Blaine attempting to channel Frank Sinatra while singing Paul McCartney's 'Silly Love Songs' in the middle of Breadsticks " Lisa de Moraes of The Washington Post praised the storyline, calling it cohesive 

Musical performances
The musical covers and performances for the episode were mostly well received by critics and fans alike  Sandra Gonzalez of Entertainment Weekly stated that her favorite was "Silly Love Songs" by Paul McCartney, performed by the Warblers  In a review of the performance, she wrote, "This is much more Warbler-esque than 'When I Get You Alone'  I had also been worried we wouldn't get our weekly dose of dorky Warbler dance moves  Plus, major points for the blink-and-you'll-miss-it moment when Blaine sang the love 'won't come at all' line to Santana  It was probably my personal biggest laugh-out-loud moment of the episode " She gave the performance an "A"  She also praised Puck's performance of "Fat Bottomed Girls", and opined, "In general, I'm in love with Mark Salling's voice  He's right up there with Artie [   ] in my book  And this song was smothered in awesome sauce  Bonus points for Puck's sort-of-feminine head bob, Brittany's background groovin', the club's reactions to him singing to Lauren, and Mr  Schu's mild eye-roll " She went on to give the performance an "A−"  Kristin Coachman of the Seattle Post-Intelligencer was a bit more critical of Puck's cover of the song: "This week Mark Salling [   ] is singing Queen's 'Fat Bottomed Girls'  I know this song fits in with Puck's storyline for the episode, but I feel like the song was in the wrong key for him  At times it sounded like he was straining to hit the higher notes  Because of this, I have to wonder if the backing vocals are purposely drowning his voice out  It seems depending on the song selection for him, Salling's vocal performances continue to be very hit or miss this season "Tina's cover of "My Funny Valentine" stirred mixed emotions in Gonzalez  She criticized the ending: "When she started sobbing, it got weird  Then weirder  Then downright uncomfortable " However, she liked the earlier part of the performance, and wrote, "It was übersweet when Tina started getting choked up during her song, because let's face it, it happens  You can love someone so much it hurts  If she would have continued the song with a mild lump in her throat, I think I might have gotten choked up with her "Rachel's cover of "Firework" by Katy Perry was reviewed negatively by Coachman  She wrote, "I'm not loving Michele’s vocals on this track  It was like they wanted to purposely make her sound like Katy Perry  As much as I really like Katy Perry, Michele has more of a tremendous voice  There are parts where I thought she sounded really great, but for the most part this song just wasn't my cup of tea  Michele has such a beautiful voice; I wish she was given songs that would allow her to showcase it to her advantage " Katie Morgan of Billboard gave a positive review of the Warblers' performance of "Silly Love Songs", writing, "Not only do they sound great [   ], but the song brings a sugary sweet end to a super-saccharine episode " The Marquee Blog at CNN gave the music numbers a positive review  A notable segment reads: "I just loved seeing The Warblers get their groove on amidst the jeans and cotton T-shirts  And Kurt was super gracious trying to be supportive of Blaine, in spite of his own feelings  I also totally loved the music [   ] and overall this was one of my favorite episodes this season  Brett Berk of Vanity Fair praised Salling's performance of "Fat Bottomed Girls", as well as the casts' performances of "P Y T " by Michael Jackson and "When I get You Alone" by Robin Thicke  Erica Futterman of Rolling Stone gave Salling's performance a positive review  She wrote, "We were thoroughly entertained by Puck's attempt to win newbie Lauren Zizes over with his tribute to her larger figure  Only in Puck's world would Queen's raucous song qualify as a serenade—and our horror-turned-amusement was mirrored on his fellow New Directions' faces  Puck is no Freddie Mercury, but he handles the melody well and makes up for lack of range with swagger "

Chart history
All five of the cover versions released as singles debuted on the Billboard Hot 100, and appeared on other musical charts  With these new Hot 100 debuts, plus the debut the same week of "She's Not There" from the prior episode "The Sue Sylvester Shuffle", which had aired two days before "Silly Love Songs", the Glee Cast passed Elvis Presley's record of 108 singles on the Hot 100, reaching 113 singles  The cast had nine songs on the Hot 100 that week, a new record for them  The show's rendition of "Firework" debuted at number thirty-four; it was at number thirty-five on the Billboard Canadian Hot 100  The other four songs from this episode on the Hot 100 were "Silly Love Songs" at number forty-five, which also made number fifty-four on the Canadian Hot 100, "When I Get You Alone" at number forty-seven, which also made number sixty-one on the Canadian Hot 100, "Fat Bottomed Girls" at number fifty-six, which also made number fifty on the Canadian Hot 100, and "P Y T  (Pretty Young Thing)" at number fifty-eight, which also made number sixty-nine on the Canadian Hot 100 
Passage 9:
Up All Night (Matt Willis song)
"Up All Night" is the debut solo single by English musician Matt Willis  It was released as a single on 22 May 2006 and appears on his debut album, Don't Let It Go to Waste  The song is about how Willis keeps thinking of a girl, and as a result cannot sleep at night  It debuted at number 52 on the UK Singles Chart on download sales alone  The following week, it peaked at number seven after the physical release  It stayed in the UK chart for a total of four weeks 
The video for "Up All Night" features Willis in a house late at night and flashes back and forth between scenes of Willis having difficulty sleeping and Willis in the midst of a party  Willis's first televised performance of "Up All Night" took place on 7 May 2006 on Top of the Pops  He then performed the song again on the same show on 28 May 2006, three weeks since his TV debut 

Track listings
CD2 contains a free beer mat, with images of a dragon on the front and Willis on the rear 

Charts
Passage 10:
I Don't Want to Go Back Alone
I Don't Want to Go Back Alone (Portuguese: Eu Não Quero Voltar Sozinho) is a 2010 Brazilian short film directed by Daniel Ribeiro  The short won the 2011 Iris Prize 
It was later expanded into Ribeiro's 2014 feature film The Way He Looks 

Plot
Leonardo "Leo" is a 15-year-old blind high school student with his one friend in class, Giovana, sitting next to him  Seated behind Leonardo is the new student Gabriel  After class Giovana invites Gabriel to walk home with herself and Leonardo; she customarily links arms with him for support even though his house is further from the school than hers  Later Giovana teases Leonardo about never confiding in her about romance and suggests he receive math tutoring from Gabriel 
Over time the three grow closer, walking home and playing games together  Leonardo becomes more self-conscious about appearance, asking questions about what he and Gabriel look like  Gabriel volunteers to take over escorting Leonardo so Giovana doesn't have to backtrack, though she possessively says that's not necessary  However, Leo happily agrees  A school project requires same-sex pairs, leading Leonardo to work with Gabriel instead of Giovana  During a more serious conversation about his blindness, Gabriel points out Giovana's attraction to Leonardo, but Leonardo says he does not reciprocate  After school one day, Leo links arms with Gabriel rather than Giovana, much to Gabriel's surprise and Giovana's chagrin 
When they arrive at his house, Leonardo changes shirts in front of Gabriel, who is stunned before removing his own sweatshirt  Gabriel asks Leonardo where the bathroom is to brush his teeth, but Gabriel is standing in the doorway and sees Leonardo smelling his sweatshirt  However he does not mention this to Leo  The next day in class, Gabriel tells Leonardo he left his sweatshirt at Leonardo's house but must leave school early for a dentist's appointment, and so will collect it the next day  After the other students have left, Leonardo admits to Giovana he is in love with Gabriel 
Doubtful about the homosexual romance - and hurt because she has feelings for Leo as Gabriel suspected - Giovana does not provide a positive response before a sudden phone call summons her to her grandmother's birthday, leaving Leonardo to walk home alone with a white cane  At home, when he hears someone come into his room, he chastises Giovana for leaving him and expresses his doubts about confessing his love for Gabriel  However, the visitor is actually Gabriel himself, who smiles to himself at this unintended confession before silently kissing him on the lips, leaving with his sweatshirt  Later, Giovana arrives while apologizing for taking so long  Leonardo is left confused and, after feeling around his room, discovers the sweatshirt is gone  He smiles at the realization that Gabriel was the one who kissed him 

Cast
Ghilherme Lobo as Leonardo
Fabio Audi as Gabriel
Tess Amorim as Giovana

Awards and accolades
Feature film
In December 2012, the film's official Twitter announced that a feature film based on the short film, titled "Todas as Coisas mais Simples", which translates to "All of the Simplest Things", was in production, after over two years of fundraising and preparation of the script  Filming began and completed in early 2013  The film premiered in 2014 In September 2013, director Daniel Ribeiro, announced the final title would be "Hoje Eu Quero Voltar Sozinho", which translates to "Today I Want to Go Back Alone"  Ribeiro reported, "Throughout the development of the movie a new plot element arose: Leonardo's independence  It's a naturally common theme in any teen's life, but specially in Leonardo's as, being blind, he's often overprotected by those around him, and he wants to do some things on his own, without depending on others  Therefore, the original title was no longer valid, after all "going back alone" became one of the main character's objectives "
The official English title of the film is "The Way He Looks" 
Passage 11:
Jim Cornelison
James Cornelison (born June 20, 1964) is an American singer who sings "The Star-Spangled Banner" and "O Canada" at the beginning of home games for the Chicago Blackhawks, accompanied by organist Frank Pellico  Cornelison started singing the anthem for the Blackhawks part-time in 1996; he has been singing the national anthem for the Blackhawks full-time since 2007  Cornelison has sung "Back Home Again in Indiana" at the Indianapolis 500 since 2017  He has also performed the anthem before Chicago Bears home games at Soldier Field during the 2010–11 NFL playoffs, as well as the 2011 season opener against the Atlanta Falcons, which fell on the tenth anniversary of the September 11 attacks  He also sang the National Anthem at the home opener of the 2019 season, the opening game of the 100th anniversary of the NFL 
Cornelison also sang at the 2015 NASCAR myAFibRisk com 400 race at Chicagoland Speedway  He performed the National Anthem at the Bears' 2016 home-opener against the Philadelphia Eagles  
He frequently sang the national anthem at the opening ceremonies for the Arlington International Festival of Racing at Arlington International Racecourse in the northwest suburbs of Chicago 
Cornelison graduated from Seattle Pacific University with degrees in music and psychology  He then went on to earn a master's degree in music from Indiana University in 1992  In 1995, he moved to Chicago and joined the Lyric Opera Center for American Artists 

Awards
Cornelison has won several awards for music, including:

The William Matheus Sullivan Foundation Award
First place in the American Opera Society of Chicago's 1997 Vocal Competition
The George London Foundation Encouragement Grant
Passage 12:
The Fox and the Hound
The Fox and the Hound is a 1981 American animated buddy drama film produced by Walt Disney Productions and loosely based on the 1967 novel of the same name by Daniel P  Mannix  The 24th Disney animated feature film, it tells the story of the unlikely friendship between a red fox named Tod and a hound dog named Copper  They struggle to preserve their friendship despite their emerging instincts and the surrounding social pressures demanding them to be adversaries, as they are enemies by nature  After Chief, Copper's mentor and guardian who is owned by the same hunter as him, is hit by a train while chasing Tod and seemingly almost dies, Copper assumes his role as a hunting dog and vows vengeance against Tod  Eventually, they fight each other, but in the end, Copper saves Tod after Tod saves him and his owner from a bear 
The film was directed by Ted Berman, Richard Rich, and Art Stevens, marking the directorial debuts of Berman and Rich  It was produced by Ron Miller, Wolfgang Reitherman, and Art Stevens  The ensemble voice cast consists of Mickey Rooney as Tod and Kurt Russell as Copper, respectively, with Pearl Bailey, Jack Albertson, Sandy Duncan, Jeanette Nolan, Pat Buttram, John Fiedler, John McIntire, Dick Bakalyan, Paul Winchell, Keith Mitchell, and Corey Feldman providing the voices of the other characters of the film  Mitchell and Feldman in particular voiced Young Tod and Young Copper  The instrumental musical score to the film was composed and conducted by Buddy Baker, with Walter Sheets performing the orchestration 
Walt Disney Productions first obtained the film rights to the novel by Daniel P  Mannix in 1967, however, actual development on the film would not occur until spring 1977  It marked the last involvement of the remaining members of Disney's Nine Old Men, which included Frank Thomas and Ollie Johnston  Though they had involvement in early development of the film, it was ultimately handed over to a new generation of animators following the retirement of the old animators  As such, it was the first film for future directors including Tim Burton, Brad Bird, and John Lasseter  During production, its release was delayed by over six months following the abrupt departure of Don Bluth and his team of animators  Further concerns were raised over the handling of the scene in which Chief is hit by a train, which was originally planned to result in him dying  After debating the handling of the scene, the filmmakers decided to change the death into a non-fatal injury by which he merely suffers a broken leg 
The film was released to theaters on July 10, 1981, by Buena Vista Distribution  It was a financial success, becoming the 14th highest-grossing film of the year and earning $39 9 million in the United States  However, it received mixed reviews from critics, who praised the animation and voice acting of it, but believed that it was not groundbreaking enough  It was nominated for three awards, of which it won one  At the time of its release, it was the most expensive animated film produced to date, costing $12 million  It was re-released to theaters on March 25, 1988  An intermediate follow-up, The Fox and the Hound 2, was released directly-to-DVD on December 12, 2006 

Plot
After a young red fox is orphaned, Big Mama the owl and her friends, Dinky the finch and Boomer the woodpecker, arrange for him to be adopted by a kindly farmer named Widow Tweed, who names him Tod  Meanwhile, her neighbor, hunter Amos Slade, brings home a young hound puppy named Copper and introduces him to his hunting dog, Chief, who is at first annoyed by him, but then learns to love him  One day, Tod and Copper meet and become best friends, pledging eternal friendship  Amos grows frustrated at Copper for constantly wandering off to play, and places him on a leash  While playing with Copper outside his barrel, Tod accidentally awakens Chief  Amos and Chief chase him until they are stopped by Tweed  After an argument, Amos threatens to kill Tod if he trespasses on his property again  Hunting season comes and Amos takes Chief and Copper into the wilderness for the interim  Meanwhile, Big Mama, Dinky, and Boomer attempt to explain to Tod that Copper will soon become his enemy  However, he naively insists that they will remain friends forever 
The following spring, Tod and Copper reach adulthood  Copper returns as an expert hunting dog, who is expected to track down foxes  Late at night, Tod sneaks over to visit him  Their conversation awakens Chief, who alerts Amos  A chase ensues and Copper catches Tod, but lets him go while diverting Amos  Chief catches Tod as he attempts an escape on a railroad track, but an oncoming train strikes him, resulting in him falling into the river below and breaking his leg  Enraged by this, Copper and Amos blame Tod for the accident and vow vengeance  Realizing Tod is no longer safe with her, Tweed leaves him at a game reserve  After a disastrous night on his own in the woods, Big Mama introduces him to Vixey, a female fox who helps him adapt to life there 
Amos and Copper trespass into the reserve and hunt Tod and Vixey  The chase climaxes when they inadvertently provoke an attack from a giant bear  Amos trips and falls into one of his own traps, dropping his rifle slightly out of reach  Copper violently fights the bear, but is almost killed by it  Tod comes to his rescue and battles it until they both fall down a waterfall  As Copper approaches Tod as he lies wounded in the lake below, Amos appears, ready to shoot him  Copper positions himself in front of him to prevent Amos from doing so, refusing to move away  Amos, understanding Tod had saved their lives, lowers his rifle and leaves with Copper  Tod and Copper reconcile their friendship and share one last smile before parting  At home, Tweed nurses Amos back to health, much to his humiliation  As he lies down to take a nap, Copper smiles as he remembers the day when he first met Tod  At the same moment, Vixey joins Tod on top of a hill as they both look down on Amos' and Tweed's homes 

Voice cast
Mickey Rooney as Tod
Keith Mitchell as Young Tod
Kurt Russell as Copper
Corey Feldman as Young Copper
Pearl Bailey as Big Mama
Jack Albertson as Amos Slade
Sandy Duncan as Vixey
Jeanette Nolan as Widow Tweed
Pat Buttram as Chief
John Fiedler as The Porcupine
John McIntire as The Badger
Dick Bakalyan as Dinky
Paul Winchell as Boomer

Production
Development
In May 1967, shortly before the novel won the Dutton Animal Book Award, it was reported that Walt Disney Productions had obtained the film rights to it  In spring 1977, development began on the project after Wolfgang Reitherman had read the original novel and decided that it would make for a good animated feature as one of his sons had once owned a pet fox years before  The title was initially reported as The Fox and the Hounds, but the filmmakers dropped the plural as the story began to focus more and more on the two leads  Reitherman was the film's original director along with Art Stevens as codirector  A power struggle between the two directors and coproducer Ron Miller broke out over key sections of the film with Miller supporting the younger Stevens  Miller instructed Reitherman to surrender reins over to the junior personnel, but Reitherman resisted due to a lack of trust in the young animators In an earlier version of the film, Chief was slated to die as he did in the novel  However, the scene was modified to have him survive with a broken leg  Animator Ron Clements, who had briefly transitioned into the story department, protested, "Chief has to die  The picture doesn't work if he just breaks his leg  Copper doesn't have motivation to hate the fox " Likewise, younger members of the story team pleaded with Stevens to have him killed  He countered, "Geez, we never killed a main character in a Disney film and we're not starting now!" The younger crew members took the problem to upper management, who would also back Stevens  Ollie Johnston's test animation of Chief stomping around the house with his leg in a cast was eventually kept, and Randy Cartwright reanimated the scene where Copper finds his body and had him animate his eyes opening and closing so the audience knew that he was not dead Another fight erupted when Reitherman, in thinking the film lacked a strong second act, decided to add a musical sequence of two swooping cranes voiced by Phil Harris and Charo  These characters would sing a silly song titled "Scoobie-Doobie Doobie Doo, Let Your Body Turn to Goo" to Tod after he was dropped in the forest  Charo had recorded the song and several voice tracks which were storyboarded, and live-action reference footage was shot of her wearing a sweaty pink leotard  However, the scene was strongly disliked by studio personnel who felt the song was a distraction from the main plot, with Stevens stating, "We can't let that sequence in the movie! It's totally out of place!" He notified studio management and after many story conferences, the scene was removed  Reitherman later walked into his office, slumped in a chair, and said, "I dunno, Art, maybe this is a young man's medium " He later moved on to undeveloped projects such as Catfish Bend 

Animation
By late 1978, Frank Thomas, Ollie Johnston, and Cliff Nordberg had completed their animation  Thomas had animated scenes of Tod and Copper using dialogue Larry Clemmons had written and recorded with the child actors  The film would mark the last one to have the involvement of Disney's Nine Old Men who had retired early during production, and animation was turned over to the next generation of directors and animators, which included John Lasseter, John Musker, Ron Clements, Glen Keane, Tim Burton, Brad Bird, Henry Selick, Chris Buck, Mike Gabriel, and Mark Dindal, all of whom would finalize the animation and complete the film's production  These animators had moved through the in-house animation training program, and would play an important role in the Disney Renaissance of the 1980s and 1990s However, the transition between the old guard and the new resulted in arguments over how to handle the film  Reitherman had his own ideas on the designs and layouts that should be used, but the newer team backed Stevens  Animator Don Bluth animated several scenes including of Widow Tweed milking her cow, Abigail, while his team worked on the rest of the sequence, and when she fires at Amos' automobile  Nevertheless, Bluth and the new animators felt that Reitherman was too stern and out of touch, and on his 42nd birthday, September 13, 1979, Bluth, along with Gary Goldman and John Pomeroy, entered Ron Miller's office, and they turned in their resignations  Soon after, 13 more animators followed suit in turning in their resignations  Though Bluth and his team had animated substantial scenes, they asked not to receive screen credit With those animators now gone, Miller ordered all of the resigning animators off the studio lot by noon of that same day and would later push the film's release from Christmas 1980 to summer 1981  New animators were hired and promoted to fill the ranks  To compensate for the lack of experience of the new animators, much of the quality control would rely upon a network of veteran assistant animators  Four years after production started, the film was finished with approximately 360,000 drawings, 110,000 painted cels, and 1,100 painted backgrounds making up the finished product  A total of 180 people, including 24 animators, worked on the film 

Casting
Early into production, the principal characters such as Young Tod, Young Copper, Big Mama, and Amos Slade had already been cast  The supporting roles were filled by Disney voice regulars including Pat Buttram as Chief, Paul Winchell as Boomer, and Mickey Rooney, who had just finished filming Pete's Dragon (1977), as Adult Tod  Jeanette Nolan was the second choice for Widow Tweed after Helen Hayes turned down the role  The last role to be cast was Adult Copper  Jackie Cooper had auditioned for the role, but left the project when he demanded more money than the studio was willing to pay  While filming the Elvis (1979) television film, former Disney young actor Kurt Russell was cast following a reading that had impressed the filmmakers, and completed his dialogue in two recording sessions  The growling vocals for the bear were provided by sound effects artist Jimmy MacDonald 

Soundtrack
The soundtrack album for the film was released in 1981 by Disneyland Records  It contains songs written by Stan Fidel, Jim Stafford, and Jeffrey Patch 

Track listing
Release
Box office
In its original release, the film grossed $39 9 million in domestic grosses, the highest for an animated film at the time from its initial release  Its distributor rentals were reported to be $14 2 million while its international rentals totaled $43 million  It was rereleased theatrically on March 25, 1988, where it grossed $23 5 million  It has had a lifetime gross of $63 5 million across its original release and reissue 

Home media
The film was first released on VHS on March 4, 1994, as the last entry in the Walt Disney Classics line  This release was placed into moratorium on April 30, 1995  On May 2, 2000, it was released on Region 1 DVD for the first time as part of the Walt Disney Gold Classic Collection line, along with a simultaneous VHS re-issue as part of the same video line on the same day  This edition went into moratorium in January 2006  Soon after, a 25th anniversary special edition DVD was released on October 10, 2006 The film was released on Blu-ray on August 9, 2011, commemorating its 30th anniversary as part of a 3-disc Blu-ray/DVD Combo pack that was bundled as a 2-movie Collection Edition featuring The Fox and the Hound 2 on the same Blu-ray Disc, as well as separate DVD versions of both films  Featuring a new digital restoration, the Blu-ray transfer presents the film for the first time in 1 66:1 widescreen and also features 5 1 DTS-HD Master Audio  The Fox and the Hound 2 is presented in 1 78:1 widescreen and features the same audio channel as the first film  A DVD-only edition of the 2-movie Collection, again featuring both films on separate discs, was also released on the same day 

Critical reception
Initial reviews
Vincent Canby of The New York Times claimed that the film "breaks no new ground whatsoever", while describing it as "a pretty, relentlessly cheery, old-fashioned sort of Disney cartoon feature, chock-full of bouncy songs of an upbeatness that is stickier than Krazy Glue and played by animals more anthropomorphic than the humans that occasionally appear " He further commented that the film "is rather overstuffed with whimsy and folksy dialogue  It also possesses a climax that could very well scare the daylights out of the smaller tykes in the audience, though all ends well  Parents who don't relish chaperoning their tykes to see the movie, but find they must anyway, can take heart in the knowledge that the running time is 83 minutes  That's about as short as you can get these days " Sheila Benson of the Los Angeles Times praised the animation, but criticized the story for playing it too safe  She acknowledged that the writers were "protecting us from important stuff: from rage, from pain, from loss  By these lies, done for our own good, of course, they also limit the growth that is possible " David Ansen of Newsweek stated, "Adults may wince at some of the sticky-sweet songs, but the movie is not intended for grownups "Richard Corliss of Time magazine praised the film for its intelligent story about prejudice  He argued that it shows that biased attitudes can poison even the deepest relationships, and its bittersweet ending delivers a powerful and important moral message to audiences  Roger Ebert of the Chicago Sun-Times also praised it, saying, "For all of its familiar qualities, this movie marks something of a departure for the Disney studio, and its movement is in an interesting direction  The Fox and the Hound is one of those relatively rare Disney animated features that contains a useful lesson for its younger audiences  It's not just cute animals and frightening adventures and a happy ending; it's also a rather thoughtful meditation on how society determines our behavior "

Retrospective reviews
TV Guide gave the film four out of five stars, saying, "The animation here is better than average (veteran Disney animators Wolfgang Reitherman and Art Stevens supervised the talents of a new crop of artists that developed during a 10-year program at the studio), though not quite up to the quality of Disney Studios in its heyday  Still, this film has a lot of 'heart' and is wonderful entertainment for both kids and their parents  Listen for a number of favorites among the voices " Michael Scheinfeld of Common Sense Media gave its quality a rating of 4 out of 5 stars, stating, "It develops into a thoughtful examination of friendship and includes some mature themes, especially loss "In The Animated Movie Guide, Jerry Beck considered the film "average", though he praises the voice work of Pearl Bailey as Big Mama, and the extreme dedication to detail shown by animator Glen Keane in crafting the fight scene between Copper, Tod, and the bear  In his book The Disney Films, Leonard Maltin also notes that that scene received great praise in the animation world  However, he felt the film relied too much on "formula cuteness, formula comedy relief, and even formula characterizations"  Overall, he considered it "charming" stating that it is "warm, and brimming with personable characters" and that it "approaches the old Disney magic at times " Craig Butler from All Movie Guide stated that it was a "warm and amusing, if slightly dull, entry in the Disney animated canon " He also called it "conventional and generally predictable" with problems in pacing  However, he praised its climax and animation, as well as the ending  His final remark is that "Two of the directors, Richard Rich and Ted Berman, would next direct The Black Cauldron, a less successful but more ambitious project "Rob Humanick of Slant Magazine gave the film 31⁄2 out of five stars, noting that it was the transition point between the remaining original animators since Snow White and the Seven Dwarfs to the new generation, saying that "the results culled the best qualities of both groups " and that "The result is a work of both learned, assured poise and triumphant freshman determination, not far away (in style or quality) from other benchmark-status works, like the aforementioned Snow White or Pixar’s Toy Story " RL Shaffer of IGN wrote a rather mixed review, claiming that it "is just not as impressive as Disney's early work, or their late '80s/early '90s pictures " James Kendrick of Q Network Film Desk stated that it "is not one of the studio's best efforts, but nonetheless it remains a fascinating product of an era of upheaval as well as a meaningful statement about the nature of prejudice " Peter Canavense of Groucho Reviews stated that it "is sweet but a bit dull", nothing that "Overall, the picture is good-hearted and colorful, with an ending that carries a nice touch of ambiguity about the tussle of nature and nurture " John J  Puccio of Movie Metropolis claimed that it "is very sweet and no doubt a delight for children, but I found it quite slow and tedious "The review aggregator website Rotten Tomatoes reported that the film received a 70% approval rating with an average rating of 6 5/10 based on 27 reviews  The website's consensus states that "The Fox and the Hound is a likeable, charming, unassuming effort that manages to transcend its thin, predictable plot " Metacritic gave it a score of 65 based on 15 reviews, indicating "generally favorable reviews" 

Accolades
The film was awarded a Golden Screen Award (German: Goldene Leinwand) in 1982  In the same year, it was also nominated for a Young Artist Award and the Saturn Award for Best Fantasy Film 

Comic adaptations
As well as adaptations of the film itself, comic strips featuring the characters also appeared in stories unconnected to it  Examples include The Lost Fawn, in which Copper uses his sense of smell to help Tod find a fawn who has gone astray;The Escape in which Tod and Vixey must save the Canada goose from the bobcat;The Chase, in which Copper must safeguard a sleepwalking Chief; and Feathered Friends, in which Dinky and Boomer must go to desperate lengths to save one of Widow Tweed's chickens from a coyote A comic adaptation of the film, drawn by Richard Moore, was published in newspapers as part of Disney's Treasury of Classic Tales  A comic-book titled The Fox and the Hound followed, with new adventures of the characters  From 1981 to 2007, a few Fox and the Hound Disney comics stories were produced in Italy, Netherlands, Brazil, France, and the United States 

Follow-up
An intermediate follow-up, The Fox and the Hound 2, was released directly-to-DVD on December 12, 2006  It takes place during Tod and Copper's youth, before the events of the later half of the first film  The story-line involves Copper being tempted to join a band of singing stray dogs called "The Singin' Strays", thus threatening his friendship with Tod  It was critically panned, with critics calling it a pale imitation of its predecessor 

See also
Foxes in popular culture, films and literature
The Belstone Fox, a 1973 British film with similar themes, based on David Rook's 1970 novel, The Ballad of the Belstone Fox

Notes



ground_truth: Karen Fairchild

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Between which years did war with the person for whom Pyrrhic victory is named occur?

The following are given passages.
Context 3: Passage 1:
Gino Bartali
Gino Bartali,  (Italian pronunciation: [ˈdʒiːno ˈbartali]; 18 July 1914 – 5 May 2000), nicknamed Gino the Pious and (in Italy) Ginettaccio, was a champion road cyclist  He was the most renowned Italian cyclist before the Second World War, having won the Giro d'Italia twice, in 1936 and 1937, and the Tour de France in 1938  After the war, he added one more victory in each event: the Giro d'Italia in 1946 and the Tour de France in 1948  His second and last Tour de France victory in 1948 gave him the largest gap between victories in the race In September 2013, 13 years after his death, Bartali was recognised as a "Righteous Among the Nations" by Yad Vashem for his efforts to aid Jews during World War II 

Early life and amateur career
Gino Bartali was born in Ponte a Ema, Florence, Italy, the third son of four children of a smallholder, Torello Bartali  He was powerfully built, with a broad nose and a boxer's face  He earned pocket money by selling raffia to makers of covers for wine bottles  He began work in a bicycle shop when he was 13  He started racing at 13, became a promising amateur and turned professional in 1935 when he was 21  He was Italian champion the next year  On 14 November 1940, Bartali married Adriana Bani in Florence  The wedding was celebrated by Cardinal Dalla Costa and was blessed by Pope Pius XII, to whom Bartali donated a bicycle 

Professional career
Bartali won a stage of the 1935 Giro d'Italia and was King of the Mountains, the first of seven times he won the title in the Giro  He was 20  In 1936, before he turned 22, he won the Giro and the Giro di Lombardia, although his season was marred when his brother, Giulio, died in a racing accident on 14 June  Bartali came close to giving up cycling 
He was persuaded to return and in 1937 won the Giro again  His reputation outside Italy was that he was yet another Italian who could not ride well outside his country  There was some truth in the claim  The writer Tim Hilton said: "Bartali was essentially an Italian cyclist, a champion who rode within sight of his own people, and was uneasy when the Tour de France travelled north of Paris  He never disputed the northern classics "Stung by the claim, he rode the Tour de France in 1937  He got off to a bad start, losing more than eight minutes by the third stage and more than ten by the Ballon d'Alsace, a mountain in the Vosges  There he came back to life and led by 1m 14s over the rest and by enough over the leaders that he took the leader's jersey that night in Grenoble  But that was the end of his race  He and two helpers, Jules Rossi and Francesco Camusso, were riding across a wooden bridge over the river Colau when Rossi skidded  Bartali rode into a parapet and fell into the river 
Roger Lapébie wrote: "In the valley that leads to Briançon, I saw the accident to the maillot jaune, Bartali  The narrow and bumpy road ran along the foot of a rock  Suddenly Rossi, who was leading, took a bend badly, braked and his back wheel hit the parapet of a bridge  Bartali, who was beside Rossi, couldn't get clear and I saw him fall over the bridge and into the little river three metres below " Camusso pulled him out  Bartali was cut to his arm and knee and had trouble breathing because of a blow to the chest  He rode on to the end of the day, often pushed by his helpers  He finished 10 minutes behind the rest but kept his lead 
He got through the Alps, by then having lost his jersey, and retired in Marseille  In one account, before he dropped out, he notified the organiser, Henri Desgrange, who said: "You are the first rider to come to see me before dropping out  You're a good man [un brave garçon], Gino  We'll see each other again next year and you'll win " However, Bartali later claimed that the Italian Cycling Federation forced him to withdraw, perhaps because of his political opposition to Benito Mussolini's Fascist regime  “When the doctor didn’t want me to race, ‘they’ made me race; when I should have withdrawn, they made me continue; when, after the four difficult stages, I was getting better, they sent me home,” he said 

He did return in 1938 and overcame the teamwork of the Belgians, the cold and rain and a puncture on the Col de l'Iseran  He won the hardest stage, from Digne to Briançon, by more than five minutes  The radio commentator Georges Briquet, after he had seen the crowds of Italians greeting Bartali with green-white-red flags said: "These people had found a superman  Outside Bartali's hotel at Aix-les-Bains, an Italian general was shouting 'Don't touch him – he's a god '" A public subscription was started in his name in Italy, and Benito Mussolini was among the contributors 
The approaching war led Italy not to send a team in 1939 

Bartali won the Giro d'Italia twice before the war – in 1936 and 1937 – and once after it (1946)  He won classics such as Milan–San Remo, the Giro di Lombardia and the Züri-Metzgete  His most famous victory was the 1948 Tour de France 

1948: Second Tour
Bartali returned to the Tour in 1948 to find that many riders he had known had died in the war and that there were as many more who had started racing since he stopped (see below for Bartali's war record)  He was so worried that he spent an evening memorising two dozen riders he did not know  The Tour started in a rainstorm and Bartali found he could identify nobody because the whole field was wearing waterproofs  He took his chance and found he was with Briek Schotte  The two finished together at Trouville, and Bartali took the yellow jersey It was during that Tour that the leader of the Italian Communist Party, Palmiro Togliatti, was shot in the neck by a sniper as he was leaving the parliament building  The writer Bernard Chambaz said:

History and myth united, and a miracle if you like because that evening Bartali got a phone call at his hotel  In a bad mood, dubious, he didn't want to answer  But someone whispered that it was Alcide de Gasperi, his old friend from Catholic Action, now parliamentary president, who told him that Palmiro Togliatti, secretary-general of the communist party, had been shot at and had survived by a miracle  The situation in the peninsula was very tense amid the ravages of the Cold War  Italy needed Bartali to do what he best knew how to do, to win stages 

The communists occupied factories and radio and television stations, and angry rows in parliament came close to blows  A revolt was looming  Then Bartali won three stages in a row and led the Tour by 14 minutes  An obituary says:

Just as it seemed the communists would stage a full-scale revolt, a deputy ran into the chamber shouting 'Bartali's won the Tour de France!' All differences were at once forgotten as the feuding politicians applauded and congratulated each other on a cause for such national pride  That day, with immaculate timing, Togliatti awoke from his coma on his hospital bed, inquired how the Tour was going and recommended calm  All over the country political animosities were for the time being swept aside by the celebrations and a looming crisis was averted 

The former prime minister, Giulio Andreotti said: "To say that civil war was averted by a Tour de France victory is surely excessive  But it is undeniable that on that 14th of July of 1948, day of the attack on Togliatti, Bartali contributed to easing the tensions "

1950: Tour de France
Gino Bartali had a row during the 1950 Tour de France with the French rider Jean Robic  Newspapers made much of it, and the atmosphere was tense  Robic got clear of Bartali on the col d'Aubisque in the Pyrenees  Bartali made up ground over the Tourmalet, took the descent to Sainte-Marie-de-Campan and started up the col d'Aspin  There he caught Robic and the two rode together  The two rubbed shoulders and they fell 
Bartali said French fans by the road were so angry, accusing him of sabotaging Robic's chances, that they punched him and that one threatened him with a knife  Bartali remounted and won the stage  Fiorenzo Magni, leading the Italian 'B' team, the Cadetti, took the yellow jersey  The pair and their teams had barely returned to their hotel when Bartali said he was going home and so, he said, were the two Italian teams The organisers, Jacques Goddet and Félix Lévitan, went to his hotel, the Hôtel de France, in Lourdes, to dissuade him  Bartali, a cigarette in his mouth, said, "I have no intention of risking my life to a madman " The truth of what happened may never be known: Louison Bobet, who saw the incident on the mountain, said: "I'm pretty sure that in the time it took me to pass him, Bartali wasn't struck, and I think he mistook as blows what was an attempt to get him back in the saddle  A hunt started for the knifeman but all spectators could remember was that a man who had been slicing salami still had his knife in his hand when he went to help "It then emerged that the Italian teams had been withdrawn by the Italian cycling association  Italian fans grew so angry that a stage due to cross the border to San Remo stopped just short of the Italian border instead, at Menton The affair escalated to the national level when the French foreign minister, Robert Schuman, apologised to his Italian counterpart for what seemed to be no more than a man interrupted in the making of a sandwich  René de Latour said:

To say that Magni was sore is putting it very mildly indeed  When he spoke to men he could trust, he would say: 'Gino knows what his little game is  He is too clever to ignore the facts that he will be lucky to win this Tour, and he prefers a foreign team win rather than see one of our team succeed, especially me  It was bad enough for him with Coppi winning last year 

Rescues and Resistance role during World War II
Bartali earned respect for his work in helping Jews who were being persecuted by the Nazis during the time of the Italian Social Republic  He appears as a character in the 1978 novel, The Assisi Underground: The Priest who Rescued Jews, and in the 1985 American television film adaptation, both based on the real-life account by Father Rufino Niccacci 
It emerged in December 2010 that Bartali had hidden a Jewish family in his cellar and, according to one of the survivors, saved their lives in doing so Bartali used his fame to carry messages and documents to the Italian Resistance  Bartali cycled from Florence through Tuscany, Umbria, and Marche, many times traveling as far afield as Assisi, all the while wearing the racing jersey emblazoned with his name 
Neither the Fascist police nor the German troops risked discontent by arresting him 
Giorgio Nissim, a Jewish accountant from Pisa, was a member of DELASEM, founded by the Union of the Israelitic Communities to help Jewish Italians escape persecution  The network in Tuscany was discovered in autumn 1943 and all Jewish members except Nissim sent to concentration camps  With the help of the Archbishops of Genoa Pietro Boetto and Florence Elia Dalla Costa, the Franciscan Friars of Assisi and others, Nissim reorganized DELASEM in Tuscany and helped 800 survive 
Nissim died in 2000  His sons found from his diaries that Bartali had used his fame to help  Nissim and the Oblati Friars of Lucca forged documents and needed photographs of those they were helping  Bartali used to leave Florence in the morning, pretending to train, ride to Assisi where many Jews were hiding in the Franciscan convents, collect their photographs and ride back to Nissim  At Assisi Bartali was in direct contact with Rufino Niccacci  Bartali also used his position to learn about raids on safehouses 
Bartali was eventually taken to Villa Triste in Florence  The SD and the Italian RSS official Mario Carità questioned Bartali, threatening his life  In spite of any threats, Bartali did not reveal what he had done  Even after the war he never boasted his merits; he used to say: "The good is done, but it is not said  And certain medals hang on the soul, not on the jacket "Bartali continued working with the Assisi Network  In 1943, he led Jewish refugees towards the Swiss Alps himself  He cycled, pulling a wagon with a secret compartment, telling patrols it was just part of his training  Bartali told his son Andrea only that "One does these things and then that's that" In June 2012, a book about Bartali's wartime activities, Road To Valor by Aili and Andres McConnon, was published In 2013, Yad Vashem awarded Gino Bartali the honour Righteous Among the Nations  He is a central figure in the 2014 documentary My Italian Secret: The Forgotten Heroes  In 2007, the script for a movie based on Bartali during World War II, called Lion Man of Tuscany was on the Black List, a survey of the "most liked" un-produced scripts in Hollywood In 2017, research by Michele Sarfatti questioned Bartali's efforts to save Jewish lives, referring to the very limited sources and contradicting that Bartali would have described this in his diaries  In 2021, Marco and Stefano Pivato corroborated this stance by Sarfatti, calling the whole story 'invented' ('una storia inventata')  In 2021, an interview with Sergio Della Pergola, an Israeli-Italian academic who was involved in Yad Vashem’s investigation of Bartali’s role during the war, was published in the Corriere della Sera  Outlining some of the evidence regarding Bartali’s efforts during the war, he disagreed with the argument put forth by Sarfatti and Marco and Stefano Pivato  He was quoted as saying: “To question whether Gino Bartali risked his life to save Jews is like denying that the Earth is round ”

Riding style and legacy
Bartali was a good climber and a pioneer of derailleur gears  His style was unusual: he rarely danced on the pedals and often stayed in the saddle throughout a 15 km climb  When others attacked, he stayed in the saddle but changed up a gear, to a sprocket three teeth smaller He rode smoothly on mountains but every now and then freewheeled, always with his right foot lowered with his weight on it  Then a second or two later he would start pedalling again Bartali's feat of winning three consecutive mountain stages (13, 14 and 15) in the 1948 Tour de France has never been equalled  It is one of the most astonishing accomplishments in the history of road cycling  It would be 50 years before anyone again won three consecutive stages, when Italian cyclist Mario Cipollini did so in the early (flat) stages of the 1999 Tour de France, winning four consecutive sprint finishes in stages 4, 5, 6 and 7 

Rivalry with Coppi
Bartali's rivalry with Fausto Coppi divided Italy  Bartali, a conservative, was venerated in the rural, agrarian south, while Coppi, more worldly, secular, innovative in diet and training, was a hero of the industrial north 
The lives of each came together on 7 January 1940 when Eberrardo Pavesi, head of the Legnano team, took on Coppi to ride for Bartali  Bartali thought Coppi was "as thin as a mutton bone", but accepted  Their rivalry started when Coppi, the helper, won the Giro and Bartali, the star, marshalled the two men's team to chase him  By the 1948 world championship at Valkenburg, both climbed off rather than help the other win  The Italian cycling association said: "They have forgotten to honour the Italian prestige they represent  Thinking only of their personal rivalry, they abandoned the race, to the approbation of all sportsmen " They were suspended for two months The thaw partly broke when the pair shared a drink bottle during the climb of the Col d'Izoard in the 1952 Tour but the two men fell out over who had offered it  "I did," Bartali insisted  "He never gave me anything " Their rivalry was the subject of intense coverage and resulted in many epic races 
When professional cycle racing resumed in 1946 after World War II, Bartali narrowly beat Coppi in that year's Giro, while Coppi won Milan–San Remo  Bartali won the Tour de Suisse twice, another Milan–San Remo, and the 1948 Tour de France – a full ten years after his last victory  Coppi took victories in the 1947 Giro d'Italia, the Giro di Lombardia and the Grand Prix des Nations 
Despite the rivalry, perhaps heightened by Coppi's victory in the 1949 Giro, Bartali supported Coppi's bid in the 1949 Tour de France  The two Italian teammates destroyed the race as a contest in a mountainous Alpine stage over the Col de Vars and Col d'Izoard  When Coppi had a puncture on the Izoard, Bartali waited for him, then Bartali did the same and Coppi waited  On the final climb to Briançon, Coppi allowed Bartali to win (on his 35th birthday) and take the yellow jersey  But Coppi assumed the maillot jaune the following day after Bartali had a puncture with 40 km of the stage still to race  Coppi retained the lead to Paris, while Bartali took second place 
The 1950 Tour de France saw him lead the Italian team again, with Coppi electing not to contest the race, but having been threatened by frenzied fans, the entire Italian team resigned from the race 
Bartali always suspected that Coppi took drugs  On the hairpins of the Col di Bracco, during a stage of the 1946 Giro from Genoa to Montecatini Terme, Coppi drank from a glass phial and threw it into the verge  Bartali drove back after the race and found it  He said:

With the meticulous care of a detective collecting evidence for fingerprinting I picked it up, dropped it into a white envelope and put it carefully in my pocket  The next day I rushed round to my personal doctor and asked him to send the phial to a lab for analysis  Disappointment: no drug, no magic potion  It was nothing more than an ordinary tonic, made in France, that I could have bought without a prescription 

I realised that I should have to try to outsmart him and I devised my own investigation system  The first thing was to make sure I always stayed at the same hotel for a race and to have the room next to his so I could mount surveillance  I would watch him leave with his mates, then I would tiptoe into the room which ten seconds earlier had been his headquarters  I would rush to the waste bin and the bedside table, go through the bottles, flasks, phials, tubes, cartons, boxes, suppositories – I swept up everything  I had become so expert in interpreting all these pharmaceuticals that I could predict how Fausto would behave during the course of the stage  I would work out, according to the traces of the product I found, how and when he would attack me 

Personal life
Bartali grew up in a religious family in Tuscany, and his belief earned him the nickname "Gino the Pious"  He prayed before meals and resented when teammates swore  In contrast, Coppi grew up in Piedmont in the north and was not religious at all  Bartali was proud that Pope John XXIII had asked him to teach him to ride a bicycle  He made no secret that he supported the Catholic-leaning Christian Democratic Party but his personality ensured that he was forgiven by the rival communists  Tim Hilton wrote: "Bartali was a genuinely religious man, making his devotions public and, in return, becoming the Vatican's favourite sportsman – he was personally blessed by three popes  He would set up shrines in his hotel bedrooms when he rode the Giro and the Tour de France, and, on some mountains, children from summer camps sang canticles as he pedalled past, a priest conducting their infant worship "Bartali was frequently pessimistic  One of his customary phrases was "Everything's wrong; we'll have to start all over again " The best the historian Pierre Chany could say of him was that while he often boasted of what he had done on mountains when nobody was there to see him, he had the grace never to tell the story differently 
Bartali lived at 173 via Chiantigiana, Florence in a home full of souvenirs  His wife died in 2014 aged 94 

Later life and death
Bartali stopped racing when he was 40, after being injured in a road accident  By then he had lost much of his money  His wealth was "uncertain", said René de Latour Bartali had a heart bypass operation and then died of a heart attack in May 2000, having received the last rites 10 days earlier  He left behind his wife, Adriana, two sons and a daughter  The prime minister, Giuliano Amato, sent condolences  Romano Prodi, president of the European Commission, called him "a symbol of the most noble sportsmanship " The Italian National Olympic Committee (CONI) called for two days of mourning and silence was observed before sports events 

Career achievements
Major results
Sources:

Grand Tour results timeline
Sources:

Monuments results timeline
Sources:

See also
Legends of Italian sport - Walk of Fame
69500 Ginobartali, asteroid
Cycling records
Yellow jersey statistics
Pink jersey statistics
List of Grand Tour general classification winners
List of Tour de France general classification winners
List of Tour de France secondary classification winners
List of Giro d'Italia general classification winners
Individuals and groups assisting Jews during the Holocaust
List of Righteous Among the Nations by country
History of the Jews in Italy
List of Italians
Passage 2:
Tiberius Coruncanius
Tiberius Coruncanius (died 241 BC) was a consul of the Roman Republic in 280 BC  As a military commander in that year and the following, he was known for the battles against Pyrrhus of Epirus that led to the expression "Pyrrhic victory"  He was the first plebeian Pontifex Maximus, and possibly the first teacher of Roman law to offer public instruction 

Biography
Coruncanius, of plebeian descent, is believed to have hailed from Tusculum He was first elected consul in 280 BC with Publius Valerius Laevinus, and led an expedition into Etruria against the Etruscan cities   When Pyrrhus of Epirus invaded Italia, and defeated the Roman legions of Laevinus at the Battle of Heraclea, Tiberius' legions were recalled to Rome to bolster the defense of Roman territory 
In 254 BC or 253 BC, he was the first plebeian elected Pontifex Maximus, or chief priest of the Roman Republic, which position had been previously monopolized by patricians  He died in 241 BC and was succeeded by Lucius Caecilius Metellus, another plebeian 

Impact
He was the first who publicly professed law (publice professus est), known to be both eloquent and full of knowledge  Like Socrates, he left no writings 
His public legal instruction had the effect of creating a class of legally skilled non-priests (jurisprudentes), a sort of consultancy  After Coruncanius' death, instruction gradually became more formal, with the introduction of books on law beyond the then scant official Roman legal texts It is possible that as the first plebeian Pontifex Maximus, Coruncanius allowed members of the public and students of the law of Ancient Rome to attend his consultations tasked with giving legal advice to citizens  These consultations were probably held outside the College of Pontiffs, and thus accessible to all those interested  As such, he became the first teacher of Roman law (how students of law learned their material earlier is unknown) 
Passage 3:
Battle of Bassano
The Battle of Bassano was fought on 8 September 1796, during the French Revolutionary Wars, in the territory of the Republic of Venice, between a French army under Napoleon Bonaparte and Austrian forces led by Count Dagobert von Wurmser  The engagement occurred during the second Austrian attempt to raise the siege of Mantua  It was a French victory; however, it was the last battle in Napoleon's perfect military career as two months later he would be defeated at the Second Battle of Bassano, ending his victorious streak  The Austrians abandoned their artillery and baggage, losing supplies, cannons, and battle standards to the French 

Background
Austrian plans
The first relief of Mantua failed at the battles of Lonato and Castiglione in early August  The defeat caused Wurmser to retreat north up the Adige River valley  Meanwhile, the French reinvested the Austrian garrison of Mantua 
Ordered by Emperor Francis II to relieve Mantua at once, Feldmarschall Wurmser and his new chief-of-staff Feldmarschal-Leutnant (FML) Franz von Lauer drew up a strategy  Leaving FML Paul Davidovich and 13,700 soldiers to defend Trento and the approaches to the County of Tyrol, Wurmser directed two divisions east then south down the Brenta valley  When he joined the large division of Johann Mészáros at Bassano, he would have 20,000 men  From Bassano, Wurmser would move on Mantua, while Davidovich probed the enemy defenses from the north, looking for a favorable opportunity to support his superior  Lauer predicted that the French, having suffered recent losses, would be unable to react in time  Unknown to the Austrians, the French government desired that General Bonaparte cross the Alps to join the army of General Jean Moreau in southern Germany 

Forces
See Bassano 1796 Campaign Order of Battle for a list of French and Austrian army units 

Geography
In 1796, there were only three practicable routes between Trento and the Po River basin  The first route lay west of Lake Garda  The second route was the road down the Adige valley east of Lake Garda and north of Verona  The third route went east through Levico Terme and Borgo Valsugana, then followed the Brenta River valley (Valsugana) southward to Bassano del Grappa  An army that held both Trento and Bassano could move troops and supplies between the two places free from French interference 

Operations
Bonaparte posted General of Division Claude Vaubois with 10,000 men on the west side of Lake Garda  General of Division André Masséna defended the Adige River valley with 13,000 troops and General of Division Pierre Augereau covered Verona with 10,000 more  General of Division Charles Kilmaine maintained the blockade of Mantua with General of Division Jean Sahuguet's division of 8,000 soldiers and held a 2,000 man reserve at Verona  Another source gave Vaubois 11,000, Massena 13,000, Augereau 9,000, Sahuguet 10,000, and Kilmaine 3,500 soldiers After Castiglione, Bonaparte had rearranged his intelligence gathering: the French representative in Venice, Lallement, was sent money to pay for spies to check out the areas between Venice and Trent  and Bonaparte's station chief, Angelo Pico, based at Peschiera, sent his men forward into the Tyrol  More importantly, his spy Francesco Toli had penetrated Austrian headquarters and forewarned Bonaparte that Wurmser had left Davidovich at Trento  So, Bonaparte struck first, sending Masséna and Augereau north toward Trento  Meanwhile, Vaubois advanced past Lake Idro to Riva at the north end of Lake Garda  Vaubois and Masséna converged on Rovereto on the Adige  At the Battle of Rovereto on 4 September, the French routed Davidovich's outnumbered troops, inflicting 3,000 casualties at a cost of 750 killed and wounded Finding that Wurmser had moved toward Bassano, Bonaparte abandoned the plan to link with Moreau  Leaving Vaubois to observe the fleeing Austrians in the upper Adige valley, the French army commander decided to take a bold but risky course of action  Cutting loose from his supply line, he ordered Augereau, followed by Masséna, to the east into the Brenta valley  On 7 September, Augereau's 8,200 soldiers overwhelmed the 2,800 to 4,000 Austrians of Wurmser's rear guard at Primolano (6 km north of Cismon del Grappa), capturing 1,500 men and their commander Oberstleutnant Alois von Gavasini  The victorious French then followed the valley as it turned south toward Bassano 

Battle
Bassano
Despite being surprised by the French rapid advance, Wurmser had gathered up 20,000 men the day before the collision took place 
On 8 September, 20,000 French soldiers fell upon Wurmser from the north  First, they attacked the 3,800-man Austrian rearguard under FML Peter Quasdanovich and General-Major (GM) Adam Bajalics  Bonaparte sent Masséna down the west bank of the Brenta and Augereau down the east bank  Overwhelmed by repeated attacks and pursued by Colonel Joachim Murat's cavalry, the rearguard collapsed and Bajalics was captured  Wurmser deployed one brigade on the west bank, a second brigade on the east bank, and a third in Bassano  Colonel Jean Lannes led a successful charge which broke the Austrian lines and burst into the town  Quasdanovich later assumed command over the defeated Austrians who retreated east, but 3,500 soldiers of FML Karl Sebottendorf's division fell back to the south with their army commander 
The French suffered 400 killed, wounded, and missing  Wurmser lost 600 killed and wounded  Between 2,000 and 6,000 Austrians, eight colors and 30 artillery pieces were captured  The vigorous French pursuit also seized a bridging train plus 200 limbers and ammunition wagons 

Race for Mantua
Wurmser unexpectedly headed west toward Mantua and joined the division of Mészáros at Vicenza  Immediately, Bonaparte sent his two divisions after the Austrians, hoping to cut them off  Masséna advanced southwest from Vicenza while Augereau moved south to Padua to close the Austrian escape route to the east  General-Major Peter Ott distinguished himself by leading Wurmser's vanguard in the race for Mantua  A French battalion holding Legnago abandoned its post, allowing the Austrians passage across the Adige  Wurmser left 1,600 men to hold the city and continued his march  On 11 September, Masséna intercepted the Austrians at Cerea with two brigades weakened by straggling  Ott held on until Wurmser arrived with the main body, driving the French back with 1,200 casualties  Bonaparte ordered Sahuguet to take up blocking positions at Castel d'Ario and at Governolo where the Mincio River flowed into the Po River  The next day, the Austrian field marshal, assisted by a local guide, crossed a bridge that Sahuguet failed to destroy and led 10,000 infantry and 3,000 cavalry to Mantua After capturing the detachment at Legnago on 13 September, Bonaparte appeared before Mantua  On 15 September, Wurmser awaited the French on the east bank of the Mincio River in line of battle, with his right flank on the San Giorgio suburb and his left on La Favorita Palace  The Austrian left wing under Ott held off Sahuguet's attacks all day  But the Austrian line gave way before the attacks of Masséna on the center and General of Brigade Louis André Bon (leading Augereau's division) on the right  The French succeeded in capturing the San Giorgio suburb and driving the Austrians into Mantua  During this fight, 2,500 Austrians became casualties and 11 cannon and 3 colors were captured  The French lost 1,500 killed and wounded, plus nine guns captured 

Results
Mantua's garrison was swollen to nearly 30,000 men  But, within six weeks, 4,000 Austrians died of wounds or disease in the crowded fortress  One historian notes that,

The second attempt to relieve Mantua had therefore come to a rather sorry conclusion for the Austrians  Their army commander had managed to get himself shut inside the very place he was trying to liberate, losing more than 11,000 men in the process  The French had failed to make the link between their armies in Italy and Germany, and Bonaparte was, in a sense, back to square one, still faced with the problem of reducing Mantua, which now had a much more powerful garrison 

Footnotes
Passage 4:
Battle of the Slaak
The naval Battle of the Slaak (12 and 13 September 1631) was a Dutch victory during the Eighty Years' War  The Dutch prevented the Spanish army from dividing the Dutch United Provinces in two 

Background
In reaction to an overland Dutch attempt to capture Dunkirk earlier in the year, Infanta Isabella Clara Eugenia of Spain, governing the Southern Netherlands for Philip IV of Spain, ordered a Spanish army transported on a fleet of barges to attempt to occupy the islands of Goeree and Overflakee by surprise   In particular, the Spanish wished to overpower the large fortresses on either side of the Volkerak Strait   The fortress on the continental side had special propaganda value, as it was a newly founded town named Willemstad after William the Silent; more importantly, Spanish occupation would have allowed a blockade of the Dutch main naval port Hellevoetsluis located to the direct north of Overflakee on the island of Voorne; and the isolation of the province of Zealand from its confederate provinces 

The battle
A Spanish fleet of ninety vessels and 5,500 men under the direction of Don Francisco de Moncada, Marquis of Aytona, but in fact commanded by Count Jan van Nassau Siegen, a catholic cousin of the Calvinist Dutch House of Orange, mostly consisting of small transports, departed from Antwerp 
The project could not be kept a secret however and a Dutch task force of fifty ships, also largely consisting of small rivercraft but containing some larger flyboats, under Zealandic Vice-Admiral Marinus Hollare, intercepted the fleet in the Eastern Scheldt  Seeing their intended route blocked, the Spanish first tried to capture the more southern island of Tholen instead, to show something for their efforts, but this attempt was thwarted by a regiment of two thousand English and Scots mercenaries under the command of Colonel Thomas Morgan from the continental fortress of Steenbergen who marched at low tide through the shallow sea to the island, arriving just in time to deter a landing  Van Nassau in his desperation then took the bold decision to attempt to sneak past the Dutch fleet during the night and so achieve the original goal after all 
The Spanish movement however was noticed despite a fog; despite their small number the Dutch first allowed the enemy fleet to pass completely before cutting them off  Once this was achieved the Dutch suddenly attacked the Spanish from behind in the Slaak of Volkerak channel and were routed  Hundreds drowned as they tried to escape the ships and those that did escape were captured by the waiting Dutch and English troops ashore  Over 4,000 troops and seamen were captured along with the majority of ships  Van Nassau himself and two ships accompanying him managed to escape to Antwerp; it is not exactly known how many others escaped, perhaps as much as a third of his fleet 

Aftermath
The Admiralty of Amsterdam suggested throwing all prisoners into the sea — until that time the officially prescribed method for the Dutch to dispense with enemy combatants captured at sea — to deter further attempts, but stadtholder Frederick Henry of Orange forbade this  One of the captains distinguishing himself was the later Lieutenant-Admiral Johan Evertsen, his brother the later Lieutenant-Admiral Cornelis Evertsen de Oude also participated  The defeat was one out of a series of setbacks for the Habsburg policy in the Thirty Years War waged the same time in the larger German theatre; it influenced a decision in 1632 to reach a peace settlement between the Habsburgs and the Republic — the peace talks were unsuccessful however 

Notes
Bibliography
Dupuy, Trevor and Rachel Dupuy (1986)   The Encyclopedia of Military History from 3500 B C  to the Present  New York: Harper and Row 
Hoeven, Marco van der, ed  (1997)  Exercise of Arms: Warfare in the Netherlands, 1568-1648  Brill 
Leathes, Samuel, et al , ed  (1902)  The Cambridge Modern History  Volume Four: The Thirty Years War  Cambridge: Cambridge University Press 

External links
 Media related to Battle of the Slaak at Wikimedia Commons
Passage 5:
Mansell Richard James
Captain Mansell Richard James  (18 June 1893 – c  2 June 1919) was a Canadian-born World War I flying ace credited with 11 confirmed aerial victories  He disappeared after setting a postwar aviation record for prize money, and was the object of repeated searches throughout the years 

War service
James was living in Watford, Ontario when he enlisted in the Royal Flying Corps, and was commissioned as a temporary second lieutenant on 22 September 1917  After the completion of his training, he was posted to No  45 Squadron in Italy on 12 February 1918 as a Sopwith Camel pilot  On 3 June 1918, he scored his first aerial triumph, destroying an enemy Albatros D V over Feltre  Four days later, he destroyed two Albatros D IIIs, one over San Marino and the other over Colicella  His next two victories over Albatros D Vs that he destroyed east of Feltre on 20 July made him an ace On 5 August 1918, he destroyed the only reconnaissance plane of his career, an AEG  The next day, he sent down two Albatros D Vs over Segusino and destroyed a third  On the last day of August, he rounded out his victory string by destroying two Albatros D Vs near Arsiero On 23 September 1918, Lieutenant James was promoted to temporary captain, and in November 1918 was awarded Distinguished Flying Cross, with the following citation: 

"An excellent scout pilot who has at all times shown great skill, courage and determination in attacking enemy machines  During a short period of time he has destroyed nine enemy aeroplanes" On 6 May 1919, James surrendered his commission in the Royal Air Force upon being transferred to the unemployed list  He shipped out to the United States 

Disappearance
Final flight
On 28 May 1919 James flew what was reputedly the first Sopwith Camel in the United States, from Atlantic City, New Jersey to Boston, Massachusetts  He was competing for a $1,000 prize offered by The Boston Globe for fastest flight between the two cities  At 115 miles per hour despite headwinds, he was much faster than a prior competitor's 90 mph gait  After landing at a field eight miles north of Boston, James departed again at 6 PM, supposedly for a stop at Mitchel Field on Long Island en route to Atlantic City, both of which are southwest of Boston  He buzzed frightened spectators watching his takeoff It was Captain James' intent to follow railroad tracks from Boston on his return flight  He apparently guided on the wrong set of railroad tracks, as he later landed at Tyringham, Massachusetts, (near Lee), about 100 air miles west of Boston, to have his aircraft serviced  On 29 May, he was reportedly seen at 11:30 AM at an altitude of about 5,000 feet over Connecticut after departing Lee, Massachusetts; he apparently had a sound engine at that sighting and was headed southeast A more reliable report tells a somewhat different story  On the morning of 2 June 1919, he took off from Tyringham toward the south, then turned west, away from Boston  He drew a crowd of spectators for his departure because the local populace was not used to aircraft  Because of his direction of flight, they thought he might be returning to the field he departed, but he did not reappear 

Search efforts
Various search efforts were attempted in the years that followed James' disappearance  On 4 June 1919 it was reported that an aeroplane with its engine running had been heard near Millerton, New York  On 5 August 1919, a berry picker in a ravine on Mount Riga outside Millerton, New York found aircraft wreckage which was speculated to be James'  In December 1925 a hunting party had found some apparent wreckage in the remote woods near Tyringham but did not think much of it at the time and only in the weeks after returning did they realize the significance and mounted an unsuccessful search to relocate it  James's uncle had posted a reward for the recovery of his nephew's remains shortly after the disappearance which was still being offered at the time  On 19 May 1927, U  S  Coast Guard Boat 290 found an aircraft wing floating in Fort Pond Bay, Long Island Sound  Captain James's brother, E  D  James, wrote a letter requesting a description of the wing, hoping to identify it  There was another report that his plane might have gone down in a river at Poughkeepsie, New York, but nothing was found  Despite extensive searches for him spurred partially by rewards offered, no sign of James has ever been found  The aircraft debris that had been found was never positively identified as being from James' plane 

See also
Flying aces
No  45 Squadron RAF
List of people who disappeared
List of World War I aces credited with 11–14 victories
Passage 6:
Pyrrhic victory
A Pyrrhic victory ( (listen) PIRR-ik) is a victory that inflicts such a devastating toll on the victor that it is tantamount to defeat  Such a victory negates any true sense of achievement or damages long-term progress  
The phrase originates from a quote from Pyrrhus of Epirus, whose triumph against the Romans in the Battle of Asculum in 279 BC destroyed much of his forces, forcing the end of his campaign 

Etymology
A "Pyrrhic victory" is named after King Pyrrhus of Epirus, whose army suffered irreplaceable casualties in defeating the Romans at the Battle of Heraclea in 280 BC and the Battle of Asculum in 279 BC, during the Pyrrhic War  After the latter battle, Plutarch relates in a report by Dionysius:

The armies separated; and, it is said, Pyrrhus replied to one that gave him joy of his victory that one other such victory would utterly undo him  For he had lost a great part of the forces he brought with him, and almost all his particular friends and principal commanders; there were no others there to make recruits, and he found the confederates in Italy backward  On the other hand, as from a fountain continually flowing out of the city, the Roman camp was quickly and plentifully filled up with fresh men, not at all abating in courage for the loss they sustained, but even from their very anger gaining new force and resolution to go on with the war 
In both Epirote victories, the Romans suffered greater casualties, but they had a much larger pool of replacements, so the casualties had less impact on the Roman war effort than the losses of King Pyrrhus 
The report is often quoted as:

Ne ego si iterum eodem modo vicero, sine ullo milite Epirum revertar 
If I achieve such a victory again, I shall return to Epirus without any soldier 
or

If we are victorious in one more battle with the Romans, we shall be utterly ruined 

Examples
War
This list comprises examples of battles that ended in a Pyrrhic victory  It is not intended to be complete but to illustrate the concept 

Battle of Asculum (279 BC), Pyrrhus of Epirus and Italian allies against the Roman Republic: the Romans, though suffering twice as many casualties, could easily replenish their ranks  Pyrrhus lost most of his commanders and a great part of the forces he had brought to Italy, and he withdrew to Sicily 
Battle of Avarayr (451), Vardan Mamikonian and Christian Armenian rebels against the Sassanid Empire: the Persians were victorious but the battle proved to be a strategic victory for Armenians, as Avarayr paved the way to the Nvarsak Treaty (484 AD), which assured Armenian autonomy and religious freedom 
Siege of Szigetvár (1566), Ottoman–Habsburg wars: although the Ottomans won the siege, it can be seen as a Pyrrhic victory because of the heavy Ottoman casualties, the death of Sultan Suleiman, and the resulting delay to the Ottoman push for Vienna that year which suspended Ottoman expansion in Europe 
Siege of Ostend (1601–1604), Eighty Years' War: for three years the Spanish attempted to capture this port from Dutch and English defenders, even as the Dutch expanded their territory further east – including capturing the port of Sluis to replace Ostend before surrendering  The vast cost and casualties of the siege were compounded by Spain's subsequent campaign to recapture the Dutch gains, which achieved little, and by 1607 Spain was bankrupt  The resultant Twelve Years' Truce effectively made the Dutch Republic an independent state 
Battle of Malplaquet (1709), War of the Spanish Succession: the battle was an Allied victory because Marlborough's army kept possession of the battlefield, but it had suffered double the French casualties and could not pursue  The French army withdrew in good order and relatively intact, and it remained a potent threat to further Allied operations 
Battle of Gangwana (1741) fought between 1,000 strong Rathore cavalry of Jodhpur and combined armies of Mughal Empire, and Jaipur Numbering 100,000 with hundreds of cannons and artillery at Gangwana the Jaipur emerged victorious but with heavy losses of 12,000 and thousands other wounded
Battle of Bunker Hill (1775), American Revolutionary War: after mounting three assaults on the colonial forces, the British won control of the Boston peninsula in the early stages of the war, but the engagement cost them many more casualties than the Americans had incurred (including a large number of officers) and led them to adopt more cautious methods, which helped American rebel forces; the political repercussions increased colonial support for independence 
Battle of Guilford Court House (1781), American Revolutionary War: in this short battle, the outnumbered British force defeated an American army; the British lost a considerable number of men, and their drive to conquer the southern colonies changed course 
Battle of Chancellorsville (1863), American Civil War: General Robert E  Lee split his army in the face of Hooker's larger Union force; the audacious strategy allowed the Confederate army to win the day against a numerically superior foe  However, 20% of Lee's army was injured or killed, including General Stonewall Jackson, and his losses were difficult to replace  Lee's weakened army went on the offensive, but less than two months later was defeated and forced to retreat after the Battle of Gettysburg 
Battle of the Santa Cruz Islands (1942), World War II, Solomon Islands Campaign: Japanese and Allied naval forces met during the struggle for Guadalcanal and nearby islands  After an exchange of carrier air attacks, U S  surface ships retreated with one carrier sunk and another severely damaged  The Japanese carrier forces achieved a tactical victory, as none of their ships were sunk, but the heavy loss of irreplaceable veteran aircrews was to the strategic advantage of the Allies  Japanese ground forces on Guadalcanal had also just lost the Battle for Henderson Field and were in no position to take advantage of the new situation 
Battle of Chosin Reservoir (1950), Korean War: the Chinese army attempted to encircle and destroy the UN forces but in a 17-day battle in freezing weather, the UN forces inflicted crippling losses on the Chinese while making a fighting withdrawal  The Chinese occupied northeast Korea but they did not recover until the spring, and the UN maintained a foothold in Korea 
Second Battle of Quảng Trị (1972), Vietnam War: The army of the Republic of Vietnam, with the support of ground artillery, ship gunboats, and bombers, attacked the ancient citadel of Quảng Trị  Although the citadel was recaptured after 81 days and nights, the ARVN army was weakened and after only 2 years, the Republic of Vietnam collapsed and the communists unified the North and South 
Battle of Vukovar (1991), Croatian War of Independence: the Yugoslav People's Army (JNA) laid siege to the city of Vukovar, held by the Croatian National Guard and civilian volunteers  After 87 days, the ruined city fell to the JNA  Although the city was besieged from all sides, it exhausted the Yugoslav army and Serbian paramilitaries that had about twenty times more soldiers and complete armoured and artillery superiority, and they had twice as many losses  It was a turning point in the Croatian War of Independence 

Politics, sports and law
The term is used as an analogy in business, politics and sport to describe struggles that end up ruining the victor  Theologian Reinhold Niebuhr commented on the necessity of coercion in preserving the course of justice by warning,

Moral reason must learn how to make coercion its ally without running the risk of a Pyrrhic victory in which the ally exploits and negates the triumph 
In Beauharnais v  Illinois, a 1952 U S  Supreme Court decision involving a charge proscribing group libel, Associate Justice Black alluded to Pyrrhus in his dissent,

If minority groups hail this holding as their victory, they might consider the possible relevancy of this ancient remark: "Another such victory and I am undone" 

See also
Passage 7:
Battle of María
The Battle of María (15 June 1809) saw a small Spanish army led by Joaquín Blake y Joyes face an Imperial French corps under Louis Gabriel Suchet 

Background
The Spanish campaign in early 1809 started with the Battle of Uclés 

Battle
After an inconclusive contest earlier in the day, Suchet's cavalry made a decisive charge that resulted in a French victory  Though the Spanish right wing was crushed, the rest of Blake's army got away in fairly good order after abandoning most of its artillery  María de Huerva is located 17 kilometres (10 6 mi) southwest of Zaragoza, Spain  The action occurred during the Peninsular War which was part of the larger struggle known as the Napoleonic Wars 

Aftermath
The Spanish campaign in early 1809 proceeded with the French advance in Catalonia in the Battle of Belchite 

Notes
Passage 8:
Battle of Höchst
The Battle of Höchst (20 June 1622) was fought between a Catholic League army led by Johan Tzerclaes, Count of Tilly and a Protestant army commanded by Christian the Younger, Duke of Brunswick-Lüneburg, close to the town of Höchst, today a suburb of the city of Frankfurt am Main  The result was a one-sided Catholic League victory  The action occurred during the Thirty Years' War 

Background
In April 1622, Tilly had lost the Battle of Mingolsheim to Ernst von Mansfeld  In early May, however, Tilly won a decisive engagement with Georg Friedrich, Margrave of Baden-Durlach at the Battle of Wimpfen, which dispersed or killed approximately 3/4 of Georg Friederich's army, leaving only Christian of Brunswick and Ernst von Mansfeld to command in the coming battle  Meanwhile, even though Tilly had lost the army of Gonzalo de Córdoba, who had left, Tilly was more than compensated by the troops of General Tommaso Caracciolo and the count of Anholt, Johann Jakob 
Christian wanted to use the situation for a crucial strike against the Catholic League  With 12,000 infantrymen, nearly 5,000 cavalrymen, and three guns he moved from Westphalia along the Weser River shoreline, and through Hesse towards the Main River to unite his troops with armies of Mansfeld and Baden-Durlach, at Darmstadt  Continuing their mission of blocking a rendezvous between Mansfeld and Christian of Brunswick, the Catholic forces reached the river at Höchst on 20 June to find Christian's army already crossing the river 

Battle
On 15 June, Christian reached the territory of the Archbishopric of Mainz at Oberursel  He sent Colonel Dodo zu Innhausen und Knyphausen with an advance guard of 1,500 men against Höchst to take the town in a coup de main and to safeguard the Main crossing point  However, the Höchst municipal troops successfully defended the town against Knyphausen's initial assault  On the 16th Knyphausen's troops finally stormed and plundered Höchst 
Two days later the Protestants started building a pontoon bridge across the Main  Meanwhile, Christian moved with his troops towards Höchst and destroyed the villages of Oberusel, Eschborn, and Sulzbach  At the same time the Catholic troops approached in forced marches from Würzburg with 20,000 infantrymen, 6,000 cavalrymen, and 18 guns  On 19 June, they arrived at the Nidda River between Nied and Sossenheim late at night When the bridge was completed in the morning of 20 June, Christian's baggage started to cross the river  Tilly planned to force Christian's troops back to the Höchst walls and the Main, isolating the two thousand troops in Sossenheim  Hence, Christian ordered his troops to withdraw over the pontoon bridge towards Kelsterbach, but under the Catholic artillery fire the withdrawal turned into a headlong flight  The bridge broke after only 3,000 men had crossed and many of Christian's soldiers and horses drowned in the Main By the time Höchst castle was captured at around 10 p m , Christian had already lost a third of his army and was forced to retreat  Mansfeld lost an additional 2,000 troops acting as rearguard at Mannheim  Christian's entire baggage train and guns became Catholic loot  While the League troops lost only 100 soldiers, nearly 2,000 of Christian's soldiers died  However, Christian succeeded in escaping with 3,000 cavalrymen, 8,000 infantrymen, and his war chest, eventually uniting with Mansfeld's army  More recent investigations, however, showed that Christian had lost most of his booty 

Aftermath
Tilly claimed a strategic victory because his army had far fewer losses, despite the fact that Christian of Brunswick had achieved his operational goal of uniting his army with Mansfeld's  As a result of the battle, however, his troops were severely demoralised and had also lost most of their equipment, making them more of a liability than a reinforcement Höchst was the decisive battle of the 1622 campaign and signalled the end for "Winter King" Frederick V  
Shortly after the battle, the combined Protestant forces, now numbering 26,000 strong, positioned themselves on the western bank of the Rhine and ceased to resist the invasion of the Palatinate 
Frederick cancelled their contract and they were then hired by the Dutch Republic to lift the siege of Bergen-op-Zoom  On their way there, they were intercepted by Córdoba's troops in the Battle of Fleurus on 29 August and strategically defeated him despite suffering greater losses 
Heidelberg came under siege and despite an 11-week resistance, fell on 15 September 
With this news, the token English forces under Sir Horace Vere evacuated Mannheim, which fell on 2 November, and moved to the fortress of Frankenthal, which served as a final outpost for Protestant resistance in this area  It fell the following year  Duke Maximillian now controlled half of the Lower Palatinate and installed Heinrich von Metternich as governor 

Illustrations of the battle
The Swiss engraver Merian depicted the battle and the bridging of the Main in an engraving  Another contemporary engraving of an unknown artist shows the battle in a large panorama   Neither of these artists had been an eye witness of the event 
Passage 9:
Lloyd Andrews Hamilton
First Lieutenant Lloyd Andrews Hamilton (13 June 1894 – 24 August 1918) was a World War I flying ace credited with ten aerial victories  During five months of 1918 he became an ace with the Royal Air Force (RAF) and then again with the United States Air Service (USAS)  Hamilton Air Force Base is named after him 

Early life
Lloyd Andrews Hamilton was born in Troy, New York, the only child of Methodist minister Reverend John A  Hamilton and his wife Jennie Andrews Hamilton  He was a bright scholar who took his Baccalaureate Degree magnum cum laude from Syracuse University in 1916 and was a member of the Psi Upsilon fraternity  He initiated post-graduate studies at Harvard Business School in September 1916  When America entered World War I, he enlisted in the USAS, on 28 April and in May he reported to Plattsburgh, New York, for officer training 

Aviation service
Hamilton shipped out to England in late 1917 where he trained in early 1918 in an Avro 504, perhaps at RFC Bramham Moor which was then renamed RAF Tadcaster, near Bramham cum Oglethorpe in Yorkshire  Hamilton was temporarily posted as a first lieutenant to United Kingdom No  3 Squadron, Royal Flying Corps, on 2 March 1918 He first scored as a combat pilot on 11 April 1918, flying the Sopwith Camel against his first German opponent, an LVG C VI observation aircraft  The next day he made his second aerial kill; his third a week later  On 20 April he was flying at the tail end of 'C' flight when his commander Richard Raymond-Barker was attacked and killed by Manfred von Richthofen, known as the Red Baron  From far away Hamilton saw Richthofen shoot down a second aviator (who crashed but lived), then Hamilton was near enough to engage a blue Fokker Dr I triplane, expending more than 300 rounds at it after which it went into a dive and spin, but Hamilton's own maneuvers prevented him from seeing what happened to it  Hamilton returned to base and claimed a kill but it was never confirmed—all of Richthofen's flight had returned safe from the engagement  On 3 June 1918, Hamilton became an ace, scoring his fifth confirmed victory Hamilton was assigned to the USAS 17th Aero Squadron to help them complete their training  When they moved into combat, he was one of their Flight Commanders  In his service he downed three enemy aircraft and two observation balloons, becoming a double ace—once flying under RFC command and once again for USAS  His first USAS victory on 7 August was during an offensive patrol; the squadron was flying high at 16,000 feet (5,000 m) when they noticed eight Fokker D VIIs well below them over Armentières  The 17th squadron dove to attack and Hamilton downed an enemy aircraft after firing 200 rounds On Hamilton's final mission he was paired with Lt  Jesse F  Campbell to bomb and strafe transports along the Bapaume–Cambrai road, to strafe enemy troops in retreat and to attack an observation balloon that had been spotted to the north  After dropping their bombs on a small building and transports, Campbell and Hamilton turned to bust the balloon  Hamilton sprayed the balloon with machine gun rounds, and its German observer officer was seen to jump from the basket as the balloon exploded in flame  Hamilton was then killed by defensive fire from ground forces 

Legacy
Hamilton scored five victories each in 3 Squadron RAF and in the 17th Aero Squadron  He shared some of his victories teamed with such other aces as Douglas John Bell, William Tipton, Adrian Franklyn, Will Hubbard, and Robert Miles Todd Hamilton's body was laid to rest at Pittsfield Cemetery in Pittsfield, Massachusetts  His father mentioned Hamilton in Sunday sermons for many years after the war In July 1932, the new military airfield at Novato, California was named Hamilton Field in tribute  In April 1934, a plaque was emplaced to commemorate him 

Honors and awards
Distinguished Service Cross (DSC)
The Distinguished Service Cross is presented to Lloyd A  Hamilton, First Lieutenant (Air Service), U S  Army, for extraordinary heroism in action at Varssenaere, Belgium, August 13, 1918  Leading a low bombing attack on a German aerodrome, 30 miles behind the line, Lieutenant Hamilton destroyed the hangars on the north side of the aerodrome and then attacked a row of enemy machines, flying as low as 20 feet from the ground despite intense machine-gun fire, and setting fire to three of the German planes  He then turned and fired bursts through the windows of the chateau in which the German pilots were quartered, 26 of whom were afterwards reported killed  General Orders No  20, W D , 1919 Distinguished Flying Cross (DFC)
On 13 August 1918, Lt  Hamilton led his flight on a special mission against Varssenaere aerodrome  He dropped four bombs from 200 feet on some aeroplane hangars, making two direct hits and causing a large amount of damage  He then machine gunned the German officers' billets and made four circuits of the aerodrome, shooting up various targets  On the first circuit, he destroyed one EA on the ground which burst into flames when he shot it up  On the third circuit he repeated this performance, setting afire another Fokker biplane  His dash and skill very materially helped in the success of the operation  In addition this officer destroyed a Fokker biplane over Armentières on 7 August 1918  On 12 July he brought down two EA in flames and on two other occasions has driven down out of control enemy machines  He is an excellent patrol leader 

See also
List of World War I flying aces from the United States
Passage 10:
Siege of Genoa (1800)
The siege of Genoa (6 April – 4 June 1800) saw Austria besiege and capture the city of Genoa from France during the War of the Second Coalition  However, the battle was ultimately a successful diversion conducted by André Masséna's forces that allowed Napoleon to win the subsequent Battle of Marengo  In the end, around 30,000 of Genoa's 160,000 inhabitants had died of starvation and disease in the course of the siege 

Background
After Massena's victory in the Second Battle of Zurich, the alliance between Russia and Austria ended  Though this did not end the war, Napoleon soon came back from Egypt and proclaimed himself First Consul, greatly improving French chances of victory  However, the consul needed time to move his troops into Italy, so he ordered Masséna to hold Nice and Genoa at all costs until he arrived 

Beginning
Initially, the French had about 60,000 soldiers, but this number was reduced to about 36,000 fighting men due to a typhus epidemic that had also taken the lives of two of Masséna's predecessors, generals Jean-Étienne Championnet and Jean-Antoine Marbot  The Austrian commander, Michael von Melas, had around 120,000 soldiers available in Italy  After the first engagements, despite the bravery of French soldiers under Louis-Gabriel Suchet and Jean-de-Dieu Soult, Genoa was soon cut off from any outside help  By 6 April, the French were surrounded not only by land, but also by sea where a strong British squadron had just taken up positions  Nevertheless, French morale remained high and Masséna was determined to hold on 

Siege
Though Genoa was defended both by nature and by strong fortifications, Massénaa planned a more offensive strategy  On 7 April, he ordered an attack on Monte Ratti, which resulted in the Austrians being thrown out of the Apennines and the French capturing about 1,500 prisoners, including General-Major Konstantin Ghilian Karl d'Aspré  Two days later, Masséna began a desperate operation to unite with the rest of the French forces commanded by Suchet  Although Massena was cut off with only 1,200 soldiers against 10,000 Austrians, he endured their attacks and, with the help of Soult, captured another 4,000 prisoners  After this battle, the French finally shut themselves in the city  Other desperately fought battles soon followed, especially those for Fort Quezzi and Fort Richelieu, inflicting further heavy casualties on the Austrians  French forces then captured Mount Creto, forcing the Austrians to halt all further actions 
In the meantime, Bonaparte was marching with the Army of the Reserve not to the relief of Genoa, but to Milan, where he spent six days  By the end of May, plague had spread throughout Genoa and the civilian population was in revolt  Negotiations for the exchange of prisoners began in early June, but the citizens and some of the garrison clamoured for capitulation  Unknown to Masséna, the Austrian general Peter Ott had been ordered to raise the siege because Bonaparte had crossed Great St  Bernard Pass and was now threatening the main Austrian army  Describing the situation at Genoa, Ott requested and received permission to continue the siege  On 4 June, Masséna's negotiator finally agreed to evacuate the French army from Genoa  However, "if the word capitulation was mentioned or written", Masséna threatened to end all negotiations Two days later, a few of the French left the city by sea, but the bulk of Masséna's starving and exhausted troops marched out of the city with all their equipment and followed the road along the coast toward France, ending one of the most remarkable sieges in modern military history  The siege was an astonishing demonstration of tenacity, ingenuity, courage, and daring that garnered additional laurels for Masséna and placed him in a category previously reserved for Bonaparte alone 

Aftermath
The gruelling siege of some sixty days had ended but it played an important role in Napoleon's strategy  By forcing the Austrians to deploy vast forces against himself at Genoa, Masséna made it possible for Bonaparte to cross the Great St Bernard Pass, surprise the Austrians, and ultimately defeat General Melas's army at Marengo before sufficient reinforcements could be transferred from the siege site  Less than three weeks after the evacuation, Bonaparte wrote to Masséna, "I am not able to give you a greater mark of the confidence I have in you than by giving you command of the first army of the Republic [Army of Italy] " The Austrians also recognized the significance of Masséna's defense; the Austrian chief of staff declared firmly, "You won the battle, not in front of Alessandria but in front of Genoa "

Notes


== Citations ==
Passage 11:
Earl Frederick Crabb
Lieutenant (later Major) Earl Frederick Crabb (March 27, 1899 – October 18, 1986) was a World War I flying ace credited with six aerial victories  After World War I, he was an aviation pioneer and bush pilot  He returned to military aviation during World War II  He flew as a commercial pilot until he was 72 years old 

World War I
Crabb served in 92 Squadron under the command of fellow ace and future Air Marshal Arthur Coningham  Crabbe flew a Royal Aircraft Factory SE 5a to score all six of his victories  They took place between 22 July and 29 October 1918  Crabbe downed five German Fokker D VII fighters and a DFW reconnaissance plane; the latter kill was shared with fellow ace Thomas Stanley Horry and another pilot Crabb was awarded a Distinguished Flying Cross on 8 February 1919 

Between the wars
Crabb remained in aviation after war's end  He barnstormed  He flew air mail from Boston and New York to Detroit during the 1920s  In the early 1930s, he was the first pilot hired by the U S  Forest Service in Maine 

World War II and beyond
Crabb returned to duty for World War II as a major, joining the U S  Army Air Corps and serving in Training Command  After his discharge in 1945, he returned to his civilian flying job  He retired as Chief Pilot with the Forest Service at age 65, circa 1964  He continued to fly as a commercial pilot until about 1971 
Passage 12:
Hieronymus of Cardia
Hieronymus of Cardia (Greek: Ἱερώνυμος ὁ Καρδιανός, 354?–250 BC) was a Greek general and historian from Cardia in Thrace, and a contemporary of Alexander the Great (356–323 BC) 
After the death of Alexander he followed the fortunes of his friend and fellow-countryman Eumenes  He was wounded and taken prisoner by Antigonus, who pardoned him and appointed him superintendent of the asphalt beds in the Dead Sea  He was treated with equal friendliness by Antigonus's son Demetrius, who made him polemarch of Thespiae, and by Antigonus Gonatas, at whose court he died at the purported age of 104 
He wrote a history of the Diadochi and their descendants, encompassing the period from the death of Alexander to the war with Pyrrhus (323–272 BC), which is one of the chief authorities used by Diodorus Siculus (xviii –xx ) and also by Plutarch in his life of Pyrrhus 
He made use of official papers and was careful in his investigation of facts  The simplicity of his style seemingly rendered his work unpopular to people of his time, but modern historians believe it was very good  In the last part of his work he made a praiseworthy attempt to acquaint the Greeks with the character and early history of the Romans  He is reproached by Pausanias (i  9  8) with unfairness towards all rulers with the exception of Antigonus Gonatas 
Like the even more famous lost history of Alexander by Ptolemy I of Egypt, no significant amount of his work survived the end of the ancient world  He is among the authors whose fragments were collected in Karl Wilhelm Ludwig Müller's Fragmenta Historicorum Graecorum (II pp  450–61), and in Felix Jacoby's Die Fragmente der griechischen Historiker (= FGrHist 154) 
Passage 13:
Battle of Szikszó
The third and largest Battle of Szikszó was fought in October 1588 between the Kingdom of Hungary and the Ottoman Empire as part of the Ottoman–Hungarian wars  The Hungarian forces were fewer in number, but were victorious over the Ottomans   This unexpected victory was even mentioned by Emperor Rudolf decades after the battle  It was one of the most important Hungarian victories in the post-Mohács period 

Events
In 1588, Pasha Sina of Buda marched with his soldiers towards Szikszó, which belonged to Hungary and refused to pay taxes to Porta   On October 8, Ottoman soldiers were already in the market town and looting when the border fort's rescue army led by Captain Sigismund Rákóczi from Eger arrived   In contrast to the Ottoman army of 11,000 the Hungarian-German army could have been 2,400–2,500   Despite the superiority, the latter still won   More than two thousand Ottomans and about 400–500 Hungarians and Germans were dead in the clash   In the wake of this incident, the Habsburg court in Prague suspended the payment of a “fair gift” of 30,000 gold a year, fixed in the Drinapolis peace, in response to which Porta threatened war 

Prelude
In 1588, Szikszó already owed 1,000 gold tax, so Sinan  Pasha of Buda organized a punitive tax collect campaign   The six thousand cavalry and the same number of infantry were led by Kara Ali Beg, the commander of Fehérvár, against Putnok and then, after he could not take it, set off in the direction of Szikszó 

The battle
On the afternoon of October 8, the Pasha arrived under the city and immediately began the siege of the church fortress, which was protected by armed citizens   After two hours of siege, however, he was forced to retreat, because the rescue teams led by Major Sigismund Rákóczi from Eger arrived around 5 o'clock 
With 2,000 Hungarian warriors and 500 German warriors   Kara Ali set fire to the church and the houses around it, then retreated to the Hernád-Velvet triangle, where he arranged his army   He arranged the riders on the right wing and the Janissaries on the left wing, setting up his four cannons in the middle 
Rákóczi's army was led in the middle by István Drugeth Homonnai, chief of Zemplén, the most famous knight of Upper Hungary, the black shield horsemen attacked the left wing, while the German riflemen collided with the Janissaries 
Kara Ali was seriously injured at the very beginning of the battle, so the command was taken over by Mustafa Szécsény, who also fell shortly afterwards   At that time the Janissaries broke through the army of the attacking Hungarian armies, István Drugeth was captured, and Rákóczi was already considering retreating, when the Hungarian left wing rushed to the aid of the Germans, and thus managed to repel the Janissaries 
The order of war was completely disintegrated, and the struggle against man dragged on into the late night   By this time, the third Turkish chief, Bajazid basa, the leader of the Janissaries, had also fallen   Heling, the captain of the Germans, also fell   By 11, the Turkish armies ran away   The cavalry chased them to Sajó, and he also managed to free his Homons 
1,700 Turkish and hundreds of Hungarian and German soldiers died in the battle 

Aftermath
The common grave where the dead were buried has since been called Törökhalom 
With this victory, Sigismund Rákóczi became famous, Emperor Rudolf, even decades after the battle, mentioned the brilliant triumph, which was especially valuable because of the difference in the numbers of the two armies 



ground_truth: 323–272 BC