title: Chief Wahoo

text: During his tenure as president of the team, Peter Bavasi asked players how the uniforms should look. Bavasi has described Joe Carter and Pat Tabler suggesting that Chief Wahoo be added to the hats, with Tabler predicting that it would "sell like crazy". Bavasi recalls expressing concern that it would offend Native American groups, but that player Bert Blyleven reassured him, "Nah, it shouldn't. Really looks like [manager] Phil Seghi." Blyleven made a similar remark to "Sports Illustrated", who described the resemblance as "uncanny". Tabler's prediction was ultimately borne out, with hat sales increasing significantly after the reintroduction of Chief Wahoo. The revised hat design has been described as a change "in keeping with Major League Baseball's trend toward 'old-style' simulacra."


title: Chief Wahoo

text: Around the time Bavasi added Chief Wahoo to the team's hats in 1986, he also banned "derogatory" banners at the stadium. The elimination of references to Cleveland on the uniforms, including replacing the old style hats with Chief Wahoo, led to speculation that the team might be moved to another city ("Cleveland" was omitted on road jerseys from 1972 to 1977 and from 1983 to 1988; from 1978 to 1982, the city name was on the road grays, but the team often wore navy jerseys with the team name instead of the city name for many road games).


title: Chief Wahoo

text: In 1994, the Indians moved from the Cleveland Municipal Stadium to Jacobs Field (later renamed Progressive Field). They considered replacing Chief Wahoo in 1993, but it was ultimately retained. Several years later, the "Associated Press" reported that the debate had not hurt the team's souvenir sales, which were better than those of any other team in the league at the time.


title: Chief Wahoo

text: From 1962 through 1994, a -tall, neon-lit sign of Chief Wahoo at bat stood above gate D of Cleveland Municipal Stadium. When the stadium was demolished, the neon sign was donated to the Western Reserve Historical Society. Working with the original blueprints, and the help of $50,000 in donations, the historical society refurbished the sign, which is now displayed in the group's museum. Anonymous donors have since provided funds to support maintenance work that allows the sign to remain lit.


title: Chief Wahoo

text: According to a senior vice president and historian at the Western Reserve Historical Society, the acquisition of a neon Chief Wahoo sign was debated for several reasons. Among them was the belief that it was "hugely negative for a portion of the population". Ultimately, the historical society decided that "history is history. This sign is a point in a major American issue, which is racial caricature. Some people have a problem with it, some people don't. It's important because it not only represents the rich history of baseball in Cleveland, it gets into a really deep issue in American history." The sign is displayed with written materials that show several points of view, including "The Legacy of Racism Continues", "Chief Wahoo: Brief History of a Civic Icon", and "Enthusiasm! That's Chief Wahoo!"


title: Chief Wahoo

text: For several years, the USS "Cleveland" flew a battle flag featuring the Chief Wahoo logo. The time and circumstances under which the flag was first flown are not known, but the flag was retired in 2006 and presented to former Cleveland pitcher and World War II veteran Bob Feller. The flag had previously flown over center field at Cleveland Stadium.


title: Chief Wahoo

text: In 2009, the Cleveland Indians moved their spring training operations from their Grapefruit League home in Winter Haven, Florida to their new Cactus League home in Goodyear, Arizona. During the years the team trained in the Grapefruit League, a mural of Chief Wahoo was displayed on a nearby municipal water tower, which was touched up at least once in 1993. However, because of the team's impending move, the city of Winter Haven did not bother to repaint the logo when it eventually faded. Due to the expense of repainting the water tower, the logo remained there long after the team last trained in Florida; it was not until 2012 that it was finally replaced with Polk State College's Logo.


title: Chief Wahoo

text: Chief Wahoo creator Walter Goldbach and his wife spent 15 winters living in Winter Haven. During the spring training season, Goldbach would work with the team when they conducted tours. Goldbach later retired from his career as an artist, and medical issues prevented him from drawing in the last few years of his life. He died in December 2017 at the age of 88.


title: Chief Wahoo

text: An early piece of Chief Wahoo merchandise depicts a squatting Native American figure holding a stone tool in one hand and a scalp in the other. Produced in 1949 by Rempel Manufacturing, Inc., of Akron, Ohio, the rubber Indian figure (marketed as "Big Chief Erie") was based on an original sketch by "Plain Dealer" cartoonist Fred G. Reinert.


title: Chief Wahoo

text: For its 100th anniversary, the team gave away blankets that depicted various incarnations of Chief Wahoo. In 2011, the team gave away free T-shirts with a picture of a heart, a peace sign and Chief Wahoo. The "West Side Leader" of Akron, Ohio declared this design "a lot better than the previous freebie shirt, which featured representations of three racing hot dogs".


title: Chief Wahoo

text: In 2005, the team partnered with a candy maker to produce a Chief Wahoo chocolate bar. In 2013, the name "Wahoo Women" was used for a ladies' night out promotion, and the team also ran a "Wahoo Wednesdays" promotion with Domino's Pizza.


title: Chief Wahoo

text: When Major League Baseball released a line of hats fashioned to resemble team mascots, a writer for Yahoo! Sports observed that the league had "wisely passed over fashioning Chief Wahoo into a polyester conversation piece". Although Chief Wahoo was the logo for the Cleveland Indians, the official team mascot is a character named Slider. Major League Baseball does in fact sell a hat shaped to resemble Slider, who himself wears a Chief Wahoo hat. The Cleveland Indians have also sold Chief Wahoo bobblehead dolls.


title: Chief Wahoo

text: A 1999 editorial reported annual revenue of $1.5 million from sales of licensed merchandise, and $15 million from sales at official team shops. An interview subject in a 2006 documentary on Chief Wahoo estimated that the logo brought in over $20 million per year.


title: Chief Wahoo

text: Although the club had adopted the name "Indians" during the 1915 season, there was no acknowledgment of this nickname on their uniforms until 1928. In the years between the team's 1901 formation and the 1927 season, uniforms contained variations on a stylized "C" or the word "Cleveland" (except the 1921 season, when the front of the club's uniform shirts read "Worlds [sic] Champions"). The 1928 season saw modified club uniforms whose left breast bore a patch depicting the profile of a headdress-wearing American Indian. In 1929, a smaller version of that same patch migrated to the home uniform sleeve, where similar incarnations of the early design remained through 1938. The online gallery of historical Cleveland uniforms does not accurately depict the evolution of the pre-Wahoo logo, a cartoon depiction of a man in a warbonnet drawn in profile. Patrick Hruby, writing for ESPN, described an early image featuring these uniforms as "a far cry from Chief Wahoo and other grinning caricatures".


title: Chief Wahoo

text: For 1939, the club wore the Baseball Centennial patch on the sleeve. Various other patches were worn for the next few years, none of them featuring Native American caricatures. In 1946, the last year before Chief Wahoo's introduction, both the home and road shirts featured a City of Cleveland Sesquicentennial patch.


title: Chief Wahoo

text: In 1947, home and road uniforms began featuring the first incarnation of Chief Wahoo. The new logo, a caricature drawn from a three-quarter perspective, supplanted the earlier profile drawings. A redesigned Chief Wahoo caricature appeared on the uniform shirt sleeve starting in 1951. Uniform designs have varied in the years since, but the 1951 design was used in most years since then, its only notable change being the addition of blue outlines in 1979. Exceptions include the 1972 uniform, which featured no Chief Wahoo logo, and the 1973–1978 uniforms, which featured a modified logo with Chief Wahoo at bat. Chief Wahoo was featured on Cleveland hats from 1951 to 1958, and returned to Cleveland's hats in 1986, following an increase in the size of the logo on uniforms sleeves in 1983. By 2013, Chief Wahoo was featured on every variation of the team's uniforms.


title: Chief Wahoo

text: On January 29, 2018, the Cleveland Indians announced they would remove the Chief Wahoo logo from their on-field baseball caps and jerseys starting with the 2019 season. On March 21, 2019, the Baseball Hall of Fame announced that Chief Wahoo would no longer be featured on future Hall of Fame plaques, starting with newly inducted Jim Thome as an Indian. The Chief Wahoo logo was last worn by the Indians in an 11–3 loss to the Houston Astros during the ALDS on October 8, 2018. Coincidentally, the game fell on Indigenous Peoples' Day.


title: Chief Wahoo

text: In recent years, the Indians have also introduced alternative logos: a block-letter "C", a script-letter "I", and the word "Indians" written in script. In 2013, the organization officially changed the primary logo from Chief Wahoo to the recently introduced block "C". Previously, team spokesman Bob DiBiasio had described the block-C logo as alternative to Chief Wahoo: "We have added a logo, the block C, recently in addition to the Wahoo logo and the script 'Indians'. Fans of the team have alternative ways to express their support." In 2002, DiBiasio described an Indians hat with the letter "I" in similar terms, as official merchandise that provides an alternative without Chief Wahoo. Owner Larry Dolan had said the alternative logos are "another marketing tool" and "it's not true" that they are a means of phasing out Chief Wahoo. The "Encyclopedia of Sports Management and Marketing" has described the new hats and team mascot Slider as "an effort to distance the franchise from the controversy".


title: Chief Wahoo

text: The use of these alternative logos has at times proved newsworthy. In 1994, when then-President Bill Clinton threw the first pitch at Jacobs Field, he wore a hat with the letter-C logo worn from 1978 to 1985 instead of Chief Wahoo. A White House aide described the decision as one taken "in recognition of the sensitivities" involved, and it spurred public debate on the issue of Native American names and images in sports. One critic accused Clinton of "an apparent attempt to appease his 'politically correct' constituency".


title: Chief Wahoo

text: When Cleveland played Baltimore in the 2007 "Civil Rights Game" in Memphis, logos were removed from the uniforms of both teams. This caused some sportswriters to assert that the office of the Major League Baseball commissioner understood "on some level, that Chief Wahoo is the wrong message". The controversy was heightened by Memphis' location on the Trail of Tears. The president of the Faraway Cherokees in Memphis said, "My family was on the Trail of Tears. We feel offended that they would bring a team here called the Indians. It's racist. We aren't gone."


title: Chief Wahoo

text: Chief Wahoo was also absent from merchandise sold at FanFest activities during the 2013 MLB All-Star Game in New York City. The use of alternate logos on official merchandise led sportswriters to speculate that Major League Baseball was uncomfortable or cautious about using the Chief Wahoo logo. Major League Baseball's use of an alternate logo on its website has led to similar speculation.


title: Chief Wahoo

text: In 2009, when the Cleveland Indians moved their spring training operations to Goodyear, Arizona, the Chief Wahoo logo was not used on the outside of the local stadium where they practiced. The Chief Wahoo logo had been prominently displayed at the team's previous spring training facilities in Winter Haven, Florida. Explaining that Wahoo's absence from the city-owned Goodyear Ballpark had not been the team's decision, then-team president Paul Dolan said, "It's not our ballpark. I would expect some sensitivity was involved, but ultimately it's the city's ballpark." A city spokesperson said that they were following Cleveland's marketing lead after the team used the script "I" logo on the player development complex in addition to the ballpark. Dolan said there was also "some sensitivity involved" with player development complex. The logo is also absent from team property and employee clothing in Arizona.


title: Chief Wahoo

text: Cleveland sportswriter Paul Hoynes wrote that the Chief Wahoo logo was not used in Goodyear "because of the heavy population of Native Americans in Arizona." According to the 2010 census, the Arizona population is 4.6% Native American or Alaska Native, compared to 0.4% in Florida and 0.2% in Ohio. Sportswriter Craig Calcaterra described the issue more bluntly, saying that "in the southwest there is a much larger Indian population than there is back in Ohio and that not putting up a big racist, comically-exaggerated red-faced logo of an Indian is simply a matter of common courtesy." In 2013, Chief Wahoo was still used on the Cleveland Indians' spring training web page, where the logo was framed within the name of their host city, but has since been replaced.


title: Chief Wahoo

text: In 2008, Major League Baseball introduced special caps with each team's cap logo woven into the "Stars and Stripes" that were worn during major American holidays. The Indians cap with Chief Wahoo emblazoned in stars and stripes was criticized by some sportswriters. In 2009, MLB redesigned the Indians "Stars and Stripes" cap with a "C" logo replacing Chief Wahoo.


title: Chief Wahoo

text: Similar events played out several years later. In 2013, manufacturer New Era released an image of a hat with a flag-themed Chief Wahoo to be worn by the team on the Fourth of July. According to a source at Major League Baseball, the image was mistakenly released because of a misunderstanding that all teams would be using their main logo. After news reports criticized the "short-sightedness of covering a Native American logo with stars and stripes" and said it looked "a little too much like a blackface cartoon", New Era removed the design and released an image of a flag-themed block-C logo hat that would be worn instead. Some speculated that the scrapped design may actually have been intended for use. Local alternative news magazine "The Cleveland Scene" called it "the most offensive Cleveland Indians hat ever".


title: Chief Wahoo

text: Chief Wahoo has also appeared in numerous works of folk art and fan art. A 2002 decision by the US Department of Labor Employees' Compensation Appeals Board described the actions of a former letter carrier who claimed to have produced over 3,000 pieces of Chief Wahoo yard art, although she later said that claim was an exaggeration. The former letter carrier also produced Chief Wahoo clocks. In 2006, a likeness of Chief Wahoo took third place in a local sand sculpture competition, finishing behind sand sculpture versions of King Neptune and a man in a swimming pool.


title: Chief Wahoo

text: In Meadville, Pennsylvania, the adult children of a 74-year-old Cleveland Indians fan hired chainsaw artist Brian Sprague to carve a -tall maple tree stump into a full-body statue of Chief Wahoo. In 2007, a newspaper in Toledo, Ohio reported that a man from the Toledo suburb of Oregon intended to have a tree trunk carved into a depiction of Chief Wahoo at bat.


title: Chief Wahoo

text: Elements of Chief Wahoo were incorporated into a collage that appeared in the "Tribe Tract & Testimonial", a fanzine that is now collected at the Cleveland Public Library. In 2013, a Cleveland artist designed a T-shirt that combined Chief Wahoo's feather with imagery from the Cleveland Browns of the NFL and the Cleveland Cavaliers of the NBA.


title: Chief Wahoo

text: In 1987, Cleveland players Joe Carter and Cory Snyder were scheduled to appear on the cover of "Sports Illustrated" posed in front of a stained-glass rendition of Chief Wahoo. However, the stained-glass logo was not ultimately used on the cover. The unused concept was described in a "Los Angeles Times" article that did not clearly state whether the stained-glass logo was an amateur or professional work. Fan artists have incorporated Chief Wahoo's likeness into stained glass pieces.


title: Chief Wahoo

text: In 2011, artist Cyprien Gaillard installed "Neon Indian", a , neon-outline Chief Wahoo replica atop the abandoned Haus der Statistik building in Berlin's Mitte district. "The Wall Street Journal" said that the project "combines a symbol of the American Rust Belt with a souvenir of Communist town planning", and was "meant to reflect on the broader subject of urban decline."


title: Chief Wahoo

text: In another work, titled "Indian Palace", Gaillard silkscreened the logo onto a salvaged window from East Berlin's demolished Palast der Republik. The work appeared in an exhibition whose curator described the piece in terms of power, hierarchies, and values: "The window panes have arrived as 'spoils' in Frankfurt. The term 'spoil' originally referred to the hide of an animal or the enemy's armor and was later extended to apply to old fragments of architecture. The Native American grinning through the shimmering glass brings to mind the constant change in power relations, hierarchies and values." In an article on Gaillard's work, Indian Country Today Media Network said it was up to the viewer to decide "whether it is a clever re-imagining of a controversial symbol or merely a callous and harmful repetition."


title: Chief Wahoo

text: As part of the Native American mascot controversy, Chief Wahoo has drawn particular criticism. The use of "Indians" as the name of a team was also part of the controversy, and led over 115 professional organizations representing civil rights, educational, athletic, and scientific experts to publish resolutions or policies stating that any use of Native American names or symbols by non-native sports teams is a harmful form of ethnic stereotyping that promotes misunderstanding and prejudice and contributes to other problems faced by Native Americans. In 2021, the team announced their rebranding as the Cleveland Guardians for the 2022 season.


title: Chief Wahoo

text: Opponents have been protesting and taking other actions against the name and logo since the 1970s. The team owners and management have defended their use as having no intent to offend but to honor Native Americans, upholding many fans' beliefs and continued support. However, the use of Chief Wahoo was de-emphasized in favor of alternate logos beginning in the 2010s. The logo was subsequently retired after the 2018 season, and "is no longer appropriate for on-field use", according to MLB commissioner Rob Manfred. However, as to maintain their trademarks on the logo, along with the words "Tribe" and "Wahoo", and prevent their dilution, the team continued to sell limited merchandise with Chief Wahoo only at its physical team store. Chief Wahoo was also not featured on the playing field when the Cleveland Indians hosted the 2019 All-Star Game.


title: Michaele Salahi

text: Michaele Ann Schon (born Michaele Ann Holt; born October 1, 1965), formerly Michaele Salahi, is an American television personality and model. In 2010, she was a cast member on the reality show "The Real Housewives of D.C." She and her then-husband, Tareq Salahi, gained national attention in November 2009 by breaching security to attend a White House state dinner in honor of India's Prime Minister Manmohan Singh.


title: Michaele Salahi

text: Schon is the daughter of Howard A. Holt Jr. & Rosemary (née O'Malley) of Fairfax, Virginia, sister of Debbie, Howard III, and Glen. She attended, but did not graduate from, King's College in Wilkes-Barre, Pennsylvania.


title: Michaele Salahi

text: Michaele met Tareq Salahi at a 2000 baby shower that McLean, Virginia real estate developer N. Casey Margenau and his wife Molly had hosted. Michaele and Tareq married in 2003 in a ceremony at the Cathedral of St. Matthew the Apostle in Washington, D.C. The guest list included 1,836 guests, including Supreme Court Justice Anthony Kennedy and former U.S. Ambassador to Ireland Margaret Heckler. The wedding, originally scheduled for October 2002, was postponed numerous times, prompting Kennedy to quip that he needed to issue "subpoenas" to the bride and groom.


title: Michaele Salahi

text: Schon was a front-desk employee at contemporary hit radio station WKRZ in Wilkes-Barre/Scranton, Pennsylvania in 1989. She then moved to the Washington, D.C., area and worked at the make-up counter at Nordstrom in the Tysons Corner Mall in McLean, Virginia, for most of the 1990s. In 2001 she was a make-up artist on the set of the "Lady Bird" episode of the PBS documentary series "American Experience".


title: Michaele Salahi

text: Schon has claimed to be a former Washington Redskins cheerleader; she has also claimed to have been featured in numerous television spots, was the face of Virginia.org's Wine Getaways ad campaign, and has also claimed to have been a featured model in various magazines. However, the Washington Redskins have publicly stated that she has never worked for them. She performed with the Redskins cheerleaders during a game in 2009, although other cheerleaders questioned her dancing abilities.


title: Michaele Salahi

text: In Florida, a polo magazine editor stated the Salahis submitted pictures for a December 2008 article that identified Schon, then Michaele Salahi, as a "former Miss USA." No record exists of her winning that beauty crown, pageant officials said. In 2010, Michaele was one of the featured housewives on Bravo's "The Real Housewives of D.C." In May 2011, she released the pop single “Bump It!” online.


title: Michaele Salahi

text: In June 2005, while he was a Senator, Barack Obama had posed for a photo with the Salahis and the Black Eyed Peas at the 12th annual Rock the Vote Awards Dinner at the National Building Museum. The Salahis also breached the September 26, 2009, dinner for the Congressional Black Caucus, where the couple posed for photos with Rep. Chuck Rangel and Star Jones, then were asked to leave by security. On the December 2, 2009, "Today Show", they claimed they were given tickets to that event by the Gardner Law Group, but caucus spokeswoman Muriel Cooper refuted that claim.


title: Michaele Salahi

text: "The first the White House security detail knew of their blunder in allowing them into [the November 24, 2009, state dinner] was when the couple posted photographs from the dinner on their Facebook page." Invited guest Brian Williams, anchor of the "NBC Nightly News", observed the Salahis' SUV being turned away from the East Gate entrance. After that, he saw the Salahis and crew leave their vehicle and walk to the White House. They entered through two security checkpoints; only one of them checked for photo ID. The White House on November 27 released photos of the couple posing with President Obama, Vice President Joe Biden, Chief of Staff Rahm Emanuel, and other celebrities in attendance.


title: Michaele Salahi

text: Secret Service director Mark Sullivan issued a statement on November 27 saying that the Secret Service was "deeply concerned and embarrassed by the circumstances surrounding the State Dinner". Sullivan's statement also pointed out that "the preliminary findings of our internal investigation have determined established protocols were not followed at an initial checkpoint, verifying that two individuals were on the guest list."


title: Michaele Salahi

text: Representative Peter T. King, Republican of New York, wrote a letter to the United States House Committee on Homeland Security requesting an investigation into this incident. The Secret Service also considered criminal charges against the Salahis. Michaele Salahi was requested by the committee to appear at a hearing on December 3, 2009, but she refused to attend.


title: Michaele Salahi

text: In September 2011, a missing-persons report for Michaele was filed by her then-husband, Tareq Salahi, but she later was discovered to have run off with Neal Schon, whom she had met earlier. The couple divorced on August 20, 2012.


title: Michaele Salahi

text: On October 14, 2012, Schon proposed to Michaele onstage during a charity concert at the Lyric Opera House in Baltimore, Maryland, offering her an oval 11.42 carat diamond engagement ring. The marriage was Michaele's second and Schon's fifth.


title: Michaele Salahi

text: The couple married on December 15, 2013, in a pay-per-view ($14.95 for three hours) wedding that was broadcast live from the Palace of Fine Arts in San Francisco, California. On December 1, 2015, the San Francisco Board of Supervisors agreed to a settlement that would pay Neal and Michaele $290,000 in response to a lawsuit that had accused the city-county government of improperly permitting the wedding's organizers to increase their fees after learning of the pay-per-view arrangements.


title: Michaele Salahi

text: In the opening segment of the December 5, 2009, episode of "Saturday Night Live", Kristen Wiig portrayed Michaele as an interloper who got on stage at a Barack Obama speech in Allentown, Pennsylvania and posed for various pictures behind the President with her husband, Secret Service agents, and Vice President Joe Biden. At one point, they asked the President to stop his speech and snap a group shot of all of them.


title: Feodosia

text: Feodosia (, "Feodosiya"; , "Feodosiia, Teodosiia"), also called in English Theodosia (from ), is a port and resort, a town of regional significance in the Crimea on the coast of the Black Sea. Feodosia serves as the administrative center of Feodosia Municipality, one of the regions into which the Crimea is divided. During much of its history, the city was known as Caffa (Ligurian: "Cafà"; Crimean Tatar and ) or Kaffa. According to the most recent census, in 2014, its population was


title: Feodosia

text: The city was founded as "Theodosia" (Θεοδοσία) by Greek colonists from Miletos in the 6th century BC. Noted for its rich agricultural lands, on which its trade depended, the city was destroyed by the Huns in the 4th century AD.


title: Feodosia

text: Theodosia remained a minor village for much of the next nine hundred years. It was at times part of the sphere of influence of the Khazars (excavations have revealed Khazar artifacts dating back to the 9th century) and of the Byzantine Empire.


title: Feodosia

text: Like the rest of Crimea, this place (village) fell under the domination of the Kipchaks and was conquered by the Mongols in the 1230s.


title: Feodosia

text: A settlement named "Kaphâs" (alternate romanized spelling "Cafâs", ) existed surrounding Theodosia prior to the penetration of Genoese into the Black Sea. The archaeological evidence indicates that during the Middle Ages the population about Theodosia never decreased to zero; several medieval churches are found in the area dating from the times of Late Antiquity/Early Middle Ages. However, the population had become completely agrarian. A small local Greek population must have existed "in situ" and in the neighboring settlements. Likely, from the 9th century there were Cumans and Goths living alongside the Greeks, and by 1270s, perhaps some Tatars and Armenians as well.


title: Feodosia

text: In the late 13th century, traders from the Republic of Genoa arrived and purchased the city from the ruling Golden Horde. They established a flourishing trading settlement called "Kaffa", which virtually monopolized trade in the Black Sea region and served as a major port and administrative center for the Genoese settlements around the Sea. It came to house one of Europe's biggest slave markets. The Great Soviet Encyclopedia also adds that the city of Caffa was established during the times when the area was ruled by the Khan of the Golden Horde Mengu-Timur.


title: Feodosia

text: Ibn Battuta visited the city, noting it was a "great city along the sea coast inhabited by Christians, most of them Genoese." He further stated, "We went down to its port, where we saw a wonderful harbor with about two hundred vessels in it, both ships of war and trading vessels, small and large, for it is one of the world's celebrated ports."


title: Feodosia

text: In early 1318 Pope John XXII established a Latin Church diocese of Kaffa, as a suffragan of Genoa. The papal bull of appointment of the first bishop attributed to him a vast territory: "a villa de Varna in Bulgaria usque Sarey inclusive in longitudinem et a mari Pontico usque ad terram Ruthenorum in latitudinem" ("from the city of Varna in Bulgaria to Sarey inclusive in longitude, and from the Black Sea to the land of the Ruthenians in latitude"). The first bishop was Fra' Gerolamo, who had already been consecrated seven years before as a missionary bishop "ad partes Tartarorum". The diocese ended as a residential bishopric with the capture of the city by the Ottomans in 1475. Accordingly, Kaffa is today listed by the Catholic Church as a titular see. The new diocese effectively broke up the diocese of Khanbaliq, which functioned as one diocese for all Mongol territory from the Balkans to China.


title: Feodosia

text: It is believed that the devastating pandemic of the Black Death entered Europe for the first time via Kaffa in 1347, through the movements of the Golden Horde. After a protracted siege during which the Mongol army under Janibeg was reportedly withering from the disease, they catapulted the infected corpses over the city walls, infecting the inhabitants, in one of the first cases of biological warfare. Fleeing inhabitants may have carried the disease back to Italy, causing its spread across Europe. However, the plague appears to have spread in a stepwise fashion, taking over a year to reach Europe from Crimea. Also, there were a number of Crimean ports under Mongol control, so it is unlikely that Kaffa was the only source of plague-infested ships heading to Europe. Additionally, there were overland caravan routes from the East that would have been carrying the disease into Europe as well.


title: Feodosia

text: Kaffa eventually recovered. The thriving, culturally diverse city and its thronged slave market have been described by the Spanish traveler Pedro Tafur, who was there in the 1430s. In 1462 Caffa placed itself under the protection of King Casimir IV of Poland. However, Poland did not offer significant help due to reinforcements sent being massacred in Bar fortress (modern day Ukraine) by Duke Czartoryski after a quarrel with locals.


title: Feodosia

text: Following the fall of Constantinople, Amasra, and lastly Trebizond, the position of Caffa had become untenable and attracted the attention of Ottoman Sultan Mehmed II. He was at no loss for a pretext to extinguish this last Genoese colony on the Black Sea. In 1473, the "tudun" (or governor) of the Crimean Khanate died and a fight developed over the appointment of his successor. The Genoese involved themselves in the dispute, and the Tatar notables who favored the losing candidate finally asked Mehmed to settle the dispute. Mehmed dispatched a fleet under the Ottoman commander Gedik Ahmet Pasha, which left Constantinople 19 May 1475. It anchored before the walls of the city on 1 June, started the bombardment the next day, and on 6 June the inhabitants capitulated. Over the next few days the Ottomans proceeded to extract the wealth of the inhabitants, and abduct 1,500 youths for service in the Sultan's palace. On 8 July the final blow was struck when all inhabitants of Latin origin were ordered to relocate to Istanbul, where they founded a quarter ("Kefeli Mahalle") which was named after the town they had been forced to leave. Renamed "Kefe", Caffa became one of the most important Turkish ports on the Black Sea.


title: Feodosia

text: In 1615 Zaporozhian Cossacks under the leadership of Petro Konashevych-Sahaidachny destroyed the Turkish fleet and captured Caffa. Having conquered the city, the Cossacks released the men, women and children who were slaves.


title: Feodosia

text: Ottoman control ceased when the expanding Russian Empire took over Crimea between 1774 and 1783. It was renamed Feodosia (Russian Ѳеодосія; reformed spelling Феодосия), after the traditional Russian reading of its ancient Greek name. In 1900 Zibold constructed the first air well (dew condenser) on mount Tepe-Oba near Feodosia.


title: Feodosia

text: The city was occupied by the forces of Nazi Germany during World War II, sustaining significant damage in the process. The Jewish population numbering 3,248 before the German occupation was murdered by SD-Einsatzgruppe D between November 16 and December 15, 1941. A witness interviewed by the Soviet Extraordinary Commission in 1944 and quoted on the website of the French organization Yahad-In Unum described how the Jews were rounded-up in the city: "[A]ll the Jews were gathered. The Germans told them they would be displaced somewhere in Ukraine. On December 4, 1941, in the morning, all the Jews, including my father, my mother and my sister were taken to an anti-tank trench where they were executed by German shooters. 1,500-1,700 people were shot that day." A monument commemorating the Holocaust victims is situated at the crossroads of Kerchensky and Symferopolsky highways. On Passover eve, April 7, 2012, unknown persons desecrated, for the sixth time, the monument, allegedly as an anti-Semitic act.


title: Feodosia

text: All native Tatar inhabitants were arrested by Soviet forces as several thousand Tatars had fought side-by-side with the Nazis against Soviet forces and had participated in the Jewish genocide. Following Stalin orders, all Tatars were sent to Kazakhstan, Uzbekistan and other Central Asian republics of the USSR.


title: Feodosia

text: The climate is warm and dry and could be described as humid subtropical, but not as Mediterranean, because the drying summer trend is not pronounced enough.


title: Feodosia

text: Modern Feodosia is a resort city with a population of about 69,000 people. It has beaches, mineral springs, and mud baths, sanatoria, and rest homes. Apart from tourism, its economy rests on agriculture and fisheries. Local industries include fishing, brewing and canning. As with much of the Crimea, most of its population is ethnically Russian; the Ukrainian language is infrequently used. In June 2006, Feodosia made the news with the 2006 anti-NATO protests.


title: Feodosia

text: While most beaches in the Crimea are made of pebbles, in the Feodosia area there is a unique Golden Beach ("Zolotoy Plyazh") made of small seashells which stretches for some 15 km.


title: Feodosia

text: The city is sparsely populated during the winter months and most cafes and restaurants are closed. Business and tourism increase in mid-June and peak during July and August. As in the other resort towns of the Crimea, the tourists come mostly from the C.I.S. countries of the former Soviet Union.


title: Feodosia

text: Feodosia was the city where the seascape painter Ivan Aivazovsky lived and worked all his life, and where general Pyotr Kotlyarevsky and the writer Alexander Grin spent their declining years. Popular tourist locations include the Aivazovsky National Art Gallery and the Genoese fortress.


title: Feodosia

text: The late-medieval city of Caffa is the location of a section of the novel "Caprice and Rondo" by Dorothy Dunnett.


title: Feodosia

text: An early 14th-century bishop of Caffa appears in Umberto Eco's novel "The Name of the Rose", making several sharp replies in a long, tempestuous debate within a group of monks and clerics; he is portrayed as aggressive and somewhat narrow-minded.


title: The Lord of the Rings: War in the North

text: The Lord of the Rings: War in the North is a 2011 action role-playing hack and slash video game developed by Snowblind Studios and published by Warner Bros. Interactive Entertainment for PlayStation 3, Xbox 360, and Microsoft Windows. An OS X port was developed and published by Feral Interactive in 2013. It is the first video game based on both J. R. R. Tolkien's 1954 high fantasy novel "The Lord of the Rings" and Peter Jackson's film trilogy adaptation released in 2001 (""), 2002 ("") and 2003 (""). This is because, until 2009, Vivendi Universal Games, in partnership with Tolkien Enterprises, held the rights to make games based on Tolkien's literary works, whilst Electronic Arts held the rights to make games based on the New Line Cinema films. In 2009, WB Games acquired the rights for both intellectual properties.


title: The Lord of the Rings: War in the North

text: The game contains narrative elements unique to both the novel and the films, although the aesthetic design is based more specifically upon the look of the films, with characters in the game bearing the likenesses of the actors who portrayed them in the films. The game does not directly adapt the story depicted in the novel and films, but instead depicts a trio of adventurers whose quest runs parallel to the main narrative, occasionally intersecting with it. The story follows them as they attempt to track down and defeat a powerful Black Númenórean named Agandaûr, whom Sauron has employed to lay waste to the northern regions of Middle-earth, whilst Sauron himself concentrates on Rohan and Gondor.


title: The Lord of the Rings: War in the North

text: The game received mixed reviews, with critics praising the graphics and tone, but criticizing the repetitive combat, weak storyline and poor character development. It was also criticized for containing several game-breaking bugs. "War in the North" was a commercial failure, a fact many critics attributed to the timing of its release - several weeks after "Dark Souls", on the same day as "", and ten days prior to "".


title: The Lord of the Rings: War in the North

text: "War in the North" is an action role-playing hack and slash game played from a third-person perspective. The game features three playable characters; Eradan (a Ranger), Farin (a Dwarf) and Andriel (an Elf). When the player begins any level they must choose one of the three to control. However, they can switch at the end of each level, or by loading a previously saved game and selecting a different character. Each character has its own weaponry and abilities. Eradan uses the following combinations of arms: bow, a two-handed sword, a sword and shield or two single-handed weapons. His skill set is built around stealth. His abilities allow him to follow the tracks of other Rangers to secret stashes of items and weapons. Farin uses two-handed heavy weapons such as axes, a single-handed weapon and a shield, or a crossbow. His skills are built around melee combat. He has the ability to detect fissures and weakness in walls and rocks, smashing them open to find money, items and gems. Andriel uses a staff and a shield, or a staff and a single-handed weapon. Her staff also serves as her long-range weapon. Her skills are built around offensive and defensive spell casting. She can also create potions from alchemy ingredients collected in the field, and her special ability allows her to find secret passages marked with hidden elven glyphs.


title: The Lord of the Rings: War in the North

text: All characters have a light and a heavy attack, and all three can roll, block and sprint. Players can also perform critical strikes; when a yellow indicator appears over the head of an enemy a heavy attack will produce a critical strike, which are extra-strong attacks that often kills the enemy with a single hit. During a single-player game, players may issue orders to their AI companions; ordering them to either seek out enemies and attack, or stay near the player character and defend. Players may also revive fallen allies; if the player character dies, the player must wait to be revived by an AI ally. Another aspect of combat is the player's ability to summon a Great Eagle to aid them. The eagle can target a single foe for a large amount of damage. However, the player is limited in the number of times they can summon him, and he can be summoned only when the player is in an outdoors location.


title: The Lord of the Rings: War in the North

text: The game also features online co-op gameplay for up to three players, each controlling one character. When playing in co-op mode, players can swap items between one another, and each player can find secrets unique to his or her character, meaning all of a level's secrets can be found in a single play-through, which they can't in single-player mode. Also in multiplayer, when all three player controlled characters are fighting a strong enemy, they can build up a combo chain. When the chain is sufficiently long, the players enter "Hero Mode," which results in much stronger attacks. To build up the combo chain, the player must continuously land successful attacks without being hit. Single-player games also include a hero mode, although it is limited to the player-character; the AI allies do not enter hero mode.


title: The Lord of the Rings: War in the North

text: Characters gain experience by defeating enemies and completing quests. A character will level up when enough experience points have been gained. Once a character has leveled up, they get three points to spend on their stats (strength, will, stamina and dexterity), and one skill point to use in their skill tree. Players' skills are attached to their melee weapon, their long range weapon and their defensive stance; i.e. some skills are only available during melee combat, some during long-range combat and some when the player is blocking.


title: The Lord of the Rings: War in the North

text: The game features two unlockable difficulty modes. When the player first plays the game, they can play on either "easy" or "normal." Once normal has been defeated, "Heroic" mode is unlocked. If this mode is defeated, "Legendary" mode becomes available. Playing through harder difficulties takes the form of a New Game Plus; the characters keep equipment, money, updated stats and unlocked skills from all previous playthroughs.


title: The Lord of the Rings: War in the North

text: The game is presented against the background of the history of the One Ring. At the dawn of the Second Age, after the defeat of the Dark Lord, Morgoth, the elves of Eregion forged the nineteen Rings of Power to help themselves, the dwarves and men rule Middle-earth. However, the elves were unaware that Sauron, Morgoth's closest ally, had survived his master's defeat, and in the guise of Annatar had been the one who taught the Elven-smiths, led by Celebrimbor, how to forge the Rings, whilst, in secret, he forged his own One Ring in the fires of Mount Doom, a Ring far more powerful than any of the others. However, in order for the One Ring to be powerful enough to control the other Rings, Sauron had to transfer most of his power into it. As soon as he put it on, the elves became aware of his ruse, removing and hiding their Three Rings, which Celebrimbor had forged without Sauron's aid. Sauron waged war on the elves, conquering much of Middle-earth and killing Celebrimbor. Thus began the Dark Years, when Sauron took possession of the remaining sixteen Rings, giving seven to the dwarves and nine to men in an effort to corrupt them. The dwarves proved relatively immune to the powers of the Rings, acquiring only a greed for gold, and becoming unconcerned with events in the wider world. Men proved less resilient, and the nine kings given the Rings become the nine Ring-wraiths, or Nazgûl, led by the Witch-king of Angmar.


title: The Lord of the Rings: War in the North

text: In his ongoing efforts to conquer Middle-earth, Sauron regained the allegiance of many of Morgoth's servants from the First Age, and successfully corrupted Númenor. However, in doing so, he expended a great deal of his power, and lost the ability to ever again assume a pleasing disguise. Returning to Mordor, he regained his strength, eventually capturing Minas Ithil. However, realizing that if they did not join together, Sauron would destroy both men and elves, Elendil, High-King of Arnor, and Gil-galad, High-King of Noldor, formed the Last Alliance of Men and Elves, and attacked Sauron in his fortress, Barad-dûr. The alliance was victorious, with Isildur cutting the One Ring from Sauron's hand. However, although presented with a chance to destroy the Ring forever, Isildur, already beginning to succumb to its corruption, chose not to do so. As such, although Sauron's physical form was vanquished, his spirit, bound to the Ring, survived. Some time later, Isildur was attacked and killed by a band of orcs, and the Ring was lost in the river Anduin for over two thousand years.


title: The Lord of the Rings: War in the North

text: Meanwhile, during the Third Age, a still weakened Sauron covertly established a stronghold at Dol Guldur. In response to this undetermined evil, the Valar sent five Maiar to Middle-earth. Taking the form of wizards, they were led by Saruman. Unsure of the origin of the evil power in Dol Guldur, the wizard Gandalf was sent to investigate. However, Sauron hid from Gandalf, waiting for four hundred years before returning. Around the same time, the One Ring was found by a Hobbit named Sméagol, who became utterly corrupted by it, living in the caves of the Misty Mountains, and physically transforming into a creature known as Gollum. For five hundred years, Gollum was consumed and corrupted by the Ring. Eventually, Gandalf was able to determine the evil presence in Dol Guldur was indeed Sauron. Gandalf reported back to the White Council, but Saruman dissuaded them from moving against Sauron. Only when he learned the One Ring may be in the vicinity of the Gladden Fields did Saruman agree to attack Sauron, hoping to find the Ring himself. The Council drove Sauron from Dol Guldur, unaware that he knew the Ring had been found. Just prior to Sauron's departure, the Ring passed to another hobbit, Bilbo Baggins, who used it to assist in the victory of elves, men and dwarves at the Battle of the Five Armies. Sixty years later, Gollum was captured by orcs, and taken to Mordor, where he was tortured into revealing the owner and location of the Ring; Bilbo Baggins of the Shire. In the meantime, Bilbo had left the Shire to live in Rivendell, and upon the advice of Gandalf had (very reluctantly) given the Ring to his nephew, Frodo Baggins. With the information given him by Gollum, Sauron, still unable to take physical form, thus sent the Nazgûl to the Shire to retrieve the One Ring. Frodo, and his friends, Samwise Gamgee, Peregrin "Pippin" Took and Meriadoc "Merry" Brandybuck managed to escape the Shire and head towards Bree.


title: The Lord of the Rings: War in the North

text: The game begins with Eradan (voiced by Nolan North), Andriel (Laura Bailey) and Farin (Fred Tatasciore) arriving at the Prancing Pony in Bree, where they meet Aragorn (Chris Edgerly), informing him that three days previously the Dúnedain guard at Sarn Ford was attacked by the Nazgûl, who passed into the Shire. After the raid, the Witch-king of Angmar (Eric Lopez), met with a Black Númenórean named Agandaûr (Fred Tatasciore), who told the Witch-king his orcs are forming an army in the ruins of Fornost, as per Sauron's command. Aragorn explains that a Hobbit with a "great burden" is on his way to Bree, and if the enemy take the object from him, it will mean certain doom for the Free peoples of Middle-earth. As such, he asks the trio to distract the orcs at Fornost.


title: The Lord of the Rings: War in the North

text: In Fornost, the trio rescue a Great Eagle imprisoned by orcs. Revealing his name is Beleram (John Patrick Lowrie), an eagle from the Misty Mountains in the service of Gwaihir, they tell him of Agandaûr, and he offers to help. They then encounter Elladan and Elrohir (Liam O'Brien), the sons of Elrond, who they also tell of Agandaûr and their mission to distract him. The twins, however, suggest they may be able to destroy Agandaûr. In the citadel at the center of the ruins, the group fight their way to the top, where they face Agandaûr, who leaps from the roof onto a waiting Fell-beast. Unable to predict Agandaûr's next move, each of the group elects to return to their respective superiors; Beleram to Gwaihir in the Misty Mountains, Elladan and Elrohir to Elrond in Rivendell, and the trio to their captain, Halbarad, at Sarn Ford.


title: The Lord of the Rings: War in the North

text: Halbarad (Peter Jessop) tells them Aragorn left Bree in the company of four hobbits, heading towards Rivendell, and he advises them to follow. After passing through the Barrow-downs, they reach Rivendell, where they are welcomed by Elrond (Jim Piddock), Gandalf (Tom Kane) and Aragorn, who explain the Hobbit Frodo Baggins (Yuri Lowenthal), is in possession of the One Ring, which must be destroyed by casting it into fires of Mount Doom. A fellowship of nine has thus been formed to carry the Ring to its destruction. The trio ask how they may help, and Gandalf explains the immediate concern is Agandaûr, as his mission and location are unknown. Elrond speculates he may be planning an attack on Rivendell, and, as such, it is likely he has gone to the Ettenmoors to strengthen his army with trolls.


title: The Lord of the Rings: War in the North

text: The trio head to investigate the Ettenmoors, where they again encounter Beleram, who tells them the orcs and trolls in the region have formed an army under a Stone-giant named Bargrisar, who is waging war on the Eagles, and as such, several Eagles have come to the Ettenmoors to kill him. The trio agree to help, eventually finding and weakening Bargrisar, allowing Beleram to kill him. They are then joined by Gwaihir (Ike Amadi) and two other eagles, Baranthor (Liam O'Brien) and Armenel (Brandon Murray). Gwaihir speculates Bargrisar must have been operating under the command of someone else. The trio return to Rivendell with Beleram, Baranthor and Armenel, where Elrond says the Fellowship have safely departed. He has also found evidence of Mount Gundabad orcs operating in the Ettenmoors.


title: The Lord of the Rings: War in the North

text: The eagles drop the trio near Gundabad, and as they climb, they see a massive army of orcs gathering in the valley. Once inside the fortress, they find the bodies of many dwarfs, with a dying dwarf telling them a group of dwarves came to Gundabad to activate a secret weapon with which to destroy the orc army. He tells them that Nordri has the key with which to operate the weapon, and is still alive within the chambers. The trio locate Nordri (Nolan North), who, along with Bruni (Jim Meskimen) is attempting to activate the weapon. The trio assist them, and once the weapon is activated, a horn sounds, the reverberations of which cause the fortress to start collapsing. The dwarves explain the weapon's function is to destroy the entire fortress. However, the Eagles then fly into the chamber, rescuing the trio and the two dwarves, and taking them to the dwarves' home, Nordinbad, a secret mountain stronghold on the edge of Rhovanion. Nordri introduces the trio to his father, Gorin (Ike Amadi), Lord of Nordinbad, who tell them he fears Agandaûr may be attempting to ally himself with Úrgost, a Dragon who lives nearby. The trio volunteer to approach Úrgost and find out.


title: The Lord of the Rings: War in the North

text: They learn that Úrgost (Keith Szarabajka) has been approached by Agandaûr, who offered him Nordinbad in return for assisting in the destruction of the North. However, Agandaûr does not yet possess Nordinbad, and Úrgost will not join him until he does. In any case, Úrgost has no real interest in Nordinbad. Instead he wants Carn Dûm, a fortress in Angmar, which is currently occupied by Agandaûr. Úrgost does not wish to make an enemy of Sauron by taking the fortress from Sauron's ally. He proposes the trio take the fortress instead and turn it over to him. In return, he will remain neutral in the war. He also tells them if they wish to save Nordinbad, they should hurry, as it is under siege as they speak.


title: The Lord of the Rings: War in the North

text: They head back to find Bruni has been killed, with Nordri coordinating the defenses. The eagles attack the siege towers, whilst the trio help defend the courtyard. Nordinbad is successfully defended, although Baranthor and Armenel are killed, and Beleram is seriously wounded. The dwarves take Beleram inside to tend to his injuries as the trio head to Carn Dûm to face Agandaûr. They fight their way towards the summit, but are attacked by a fell-beast. Suddenly, Beleram appears, killing the beast. Still injured, he tells them he will be there for them should they need him in the fight against Agandaûr. They confront Agandaûr and as they fight, Beleram attacks, lifting Agandaûr into the air. However, Agandaûr is able to stab and kill him. The distraction, however, allows the trio to strike, killing Agandaûr. As he dies, he calls on Sauron for aid. However, nothing happens. Úrgost then arrives, telling the trio that Sauron has been defeated and the Ring destroyed. He takes possession of Carn Dûm as the trio begin the journey back to Rivendell.


title: The Lord of the Rings: War in the North

text: In an alternative ending, in which the player does not call on Beleram for support during the fight with Agandaûr, Beleram survives and joins them on the journey home.


title: The Lord of the Rings: War in the North

text: The game was first announced on March 18, 2010 when Warner Bros. Interactive Entertainment revealed Snowblind Studios were developing the game for PlayStation 3, Xbox 360 and Windows. In March 2009, Warner had acquired the rights to make games based on the film series from Electronic Arts, and in May 2009 they had acquired the rights to make games based on the literary series from Vivendi Universal Games. With Warner holding the rights to both intellectual properties, it meant New Line Cinema and Middle-earth Enterprises were both involved in the game. "War in the North" was the second Warner "Lord of the Rings" game, after "", but the first for which they possessed the rights for both the films and the books ("Aragorn's Quest" was based exclusively on the films).


title: The Lord of the Rings: War in the North

text: In their earliest press release for the game, Warner said "War in the North" would feature "unseen lands, story elements, and characters from Middle-earth, as well as elements familiar from past feature films." Producer Ruth Tomandl explained,


title: The Lord of the Rings: War in the North

text: More specifically, "War in the North" was inspired by Gandalf's comment in "The Return of the King" that the efforts in the east of Middle-earth during the War of the Ring would have been futile if not for the contributions of "a few heroes in the North." Tomandl explains,


title: The Lord of the Rings: War in the North

text: One of the ways in which the involvement of Middle-earth Enterprises manifested itself was in how conversations are handled in the game. When the player speaks to an NPC, the game uses a system similar to "Mass Effect", with the player given several response options from which to choose each time the NPC says something. However, whereas in "Mass Effect", there was a moral dimension in choosing a given response, that would affect the development of the character, there is no such aspect in "War in the North". Players can choose dialogue that will simply move the story forward, or dialogue that will fill in background information and expand the lore behind the game. Snowblind had initially planned to give players the option to choose rude responses and thus develop their character in different moral directions. However, Middle-earth Enterprises were against this, arguing that in Tolkien, the heroes are always decent, kind people. As such, the developers abandoned the idea. According to Tomandl, "we've been working with the license holders to ensure that this really respects the franchise in a way they want it to, and one of the things they told us is that they want our heroes to be good guys."


title: The Lord of the Rings: War in the North

text: The game was conceived as primarily a co-op from its inception, with the developers feeling that co-operation amongst traditionally antagonistic races is such a major theme in the novels, they wanted to replicate it in the game. Having experimented with two, three and four-player co-op, they ultimately decided to go with three-player, thus mirroring the classic triptych in the novels; Man (Aragorn), Elf (Legolas) and Dwarf (Gimli). Lead designer Andre Maguire explained that "how" players experienced co-op mode was equally as important as them simply playing it;


title: The Lord of the Rings: War in the North

text: However, according to Tomandl, the focus on co-op gameplay did not mean single-player mode was neglected;


title: The Lord of the Rings: War in the North

text: "War in the North" is the first "Lord of the Rings" game to be rated M (17+) in North America, PEGI 18 in Europe, and BBFC 15 in the UK. Snowblind Studios founder Ryan Geithman stated that having the game M-rated allowed the developers to depict a grittier and more violent Middle-earth than had ever before been seen in a video game, whilst remaining authentic to both the films and Tolkien's original work.


title: The Lord of the Rings: War in the North

text: The game was first shown at E3 in June 2010, with a demo of the Mirkwood levels available. At this time, the three playable characters were a dwarven melee fighter, an elven archer and a wizard. The next demo was made available at Gamescom in August, with part of the Ettenmoors levels. The game was next shown at the Game Developers Conference in March 2011, where it was revealed gameplay options would include single-player mode, two-player local split-screen with one online player or one AI controlled player, two to three player LAN, and two to three player online multiplayer via PlayStation Network, Xbox Live or Steam. The game was next shown at E3 in June 2011, when Beleram was revealed for the first time, a demo was shown of the Fornost level and character skills were demonstrated in detail. On August 2, WB Games announced the game would be released in North America on November 1 for all platforms.


title: The Lord of the Rings: War in the North

text: On July 5, 2011, WB Games announced a Collector's Edition of the game would be released alongside the regular edition, as well as a number of store-specific pre-order special offers. The Collector's Edition comes in a Ranger quiver case and includes a concept art-book, and a "behind-the-score" DVD featuring interviews with Inon Zur and footage of the score being recorded at Abbey Road Studios, as well as a concert event from E3 2011, plus three complete tracks. Digital content for the PlayStation 3 version includes "War in the North" wallpaper, fonts and icons, and for Xbox 360 a Ranger avatar for Xbox Live. Pre-order deals included; for Amazon.com, early access to the "War in the North" digital comic written by Brian Wood and illustrated by Simon Coleby; for Best Buy, an "Elf Theme Pack," giving the player access to rare Elven equipment and unlocking the Lothlórien challenge mission immediately; for GameStop, a "Human Theme Pack," giving the player access to rare Ranger equipment and unlocking the Osgiliath challenge mission; for Target, online access to three tracks from the soundtrack; for Toys "R" Us, a limited edition "War in the North" poster signed by Jim Lee, and early access to the "War in the North" digital comic; and for Walmart, a "Dwarf Theme Pack," giving the player access to rare Dwarven equipment.


title: The Lord of the Rings: War in the North

text: "The Lord of the Rings: War in the North" received "mixed or average reviews" across all systems; the PC version holds an aggregate score of 66 out of 100 on Metacritic, based on twenty-five reviews; the PlayStation 3 version 63 out of 100, based on thirty-five reviews; the Xbox 360 version 61 out of 100, based on thirty-eight reviews.


title: The Lord of the Rings: War in the North

text: "Official Xbox Magazine"s Cameron Lewis scored the game 7.5 out of 10. Although he was critical of the lack of differentiation between the three protagonists, the shallow pool of enemies and the linear nature of the gameplay, he concluded ""War in the North" is hardly the most memorable adventure through Middle-earth, but you won't regret any of the time you spend fighting across its grim battlegrounds."


title: The Lord of the Rings: War in the North

text: IGN's Steven Hopper scored the game 7 out of 10, writing "there's something too safe in "War in the North". The gameplay doesn't take any real risks, as the combat is fairly simple, the RPG features are par for the course, and the story doesn't make any attempt to stand out in the backdrop of its established universe." He was critical of the bland characters and the "inconsequential conversation system," and concluded "while it's admirable that the team had opted to create an original story set alongside the events in the books, you'll wish that they had attempted to take more risks with the project. The characters are bland and lifeless, and the combat, while fun at first, gets pretty repetitive before too long." In November 2011, IGN rated the game the fourth most disappointing release of 2011.


title: The Lord of the Rings: War in the North

text: Game Revolution's Josh Laddin scored it a B−. He too criticized the bland characterization. Of the combat system he wrote "there isn't anything especially innovative about it, but it's all solid." He was also heavily critical of game-breaking bugs. He concluded ""War in the North" is a good choice for some classic action-RPG fun. It isn't amazing, but it's a competent effort and certainly one of the better "LotR" games to come along.


title: The Lord of the Rings: War in the North

text: GameSpot's Carolyn Petit scored both the PlayStation 3 and Xbox 360 versions 6 out of 10. Although she praised the graphics, she was critical of the collision detection, the autosave feature, enemy AI and technical issues with multiplayer. She concluded "there are times when "War in the North" shows you the game it could have been [...] But each time the game starts to hit its stride, it soon stumbles and falls on its face."


title: The Lord of the Rings: War in the North

text: GameSpy's Leif Johnson scored the PC version 3 out of 5 arguing "it never overcomes a sense of enjoyable mediocrity." He felt the game was unlikely to be a success due to the timing of its release; amidst such highly anticipated title as "Dark Souls", "Battlefield 3", "", "", "" and "". He concluded "Unless you're a Tolkien die-hard, you'll probably be better off waiting a week for the next fantasy-based game featuring a struggle in the snow-riddled northern reaches of the world [...] At its core, "War in the North" isn't a bad game; it's merely a disappointing one."


title: The Lord of the Rings: War in the North

text: "Game Informer"s Joe Juba scored the PlayStation 3 version 5.5 out of 10, calling it "clumsy and unpolished." He too complained about game breaking bugs, and concluded "I can only say one good thing about "War in the North": It could have been awesome. The conceptual framework is solid, and with some extensive tuning and polish, it would be fun to play."


title: The Lord of the Rings: War in the North

text: Eurogamer's Jeffrey Matulef scored the Xbox 360 version 4 out of 10. He called the narrative "merely a catalyst for a linear dungeon crawler." As with several reviewers, he also found the game suffered from bugs, calling it "a glitchy mess." He concluded, ""The Lord of the Rings: War in the North" is a soulless cash-in that has little to do with its license, and nor is it much fun in its own right. If you're lucky enough to not encounter any game-breaking bugs and if you have a friend or two to play with, then it can be pretty entertaining for a few hours. But that's a lot of "ifs" for so little payoff."


title: The Lord of the Rings: War in the North

text: "PlayStation Official Magazine - UK"s Joel Gregory also scored it 4 out of 10. He too found the timing of the release poor, believing it would not find an audience. He criticized the lack of differentiation between the characters, poor character development, repetitive combat, and "half-arsed" skill-trees. Of the story, he wrote "it basically goes like this: 'remember all the stuff from those films and books you love so much? Here's some other really crucial stuff that happened at the same time...only it wasn't important enough for anyone to mention during those 1,500 pages'."


title: The Lord of the Rings: War in the North

text: The game was a commercial failure, selling just over three-quarter million units worldwide at its launch across all platforms. In the UK, it charted at #38 in its opening week.


title: Zollinger–Ellison syndrome

text: Zollinger–Ellison syndrome (Z-E syndrome) is a disease in which tumors cause the stomach to produce too much acid, resulting in peptic ulcers. Symptoms include abdominal pain and diarrhea.


title: Zollinger–Ellison syndrome

text: The syndrome is caused by a gastrinoma, a neuroendocrine tumor that secretes a hormone called gastrin. Too much gastrin in the blood (hypergastrinemia) results in the overproduction of gastric acid by parietal cells in the stomach. Gastrinomas most commonly arise in the duodenum, pancreas or stomach.


title: Zollinger–Ellison syndrome

text: In 75% of cases Zollinger–Ellison syndrome occurs sporadically, while in 25% of cases it occurs as part of an autosomal dominant syndrome called multiple endocrine neoplasia type 1 (MEN 1).


title: Zollinger–Ellison syndrome

text: Patients with Zollinger–Ellison syndrome may experience abdominal pain and diarrhea. The diagnosis is also suspected in patients who have severe ulceration of the stomach and small bowel, especially if they fail to respond to treatment.


title: Zollinger–Ellison syndrome

text: Gastrinomas may occur as single tumors or as multiple small tumors. About one-half to two-thirds of single gastrinomas are malignant tumors that most commonly spread to the liver and to lymph nodes near the pancreas and small bowel.


title: Zollinger–Ellison syndrome

text: Nearly 25 percent of patients with gastrinomas have multiple tumors as part of a condition called multiple endocrine neoplasia type 1 (MEN 1). MEN I patients have tumors in their pituitary gland and parathyroid glands, in addition to tumors of the pancreas.


title: Zollinger–Ellison syndrome

text: Gastrin works on the parietal cells of the gastric glands, causing them to secrete more hydrogen ions into the stomach lumen. In addition, gastrin acts as a trophic factor for parietal cells, causing parietal cell hyperplasia. Normally, hydrogen ion secretion is controlled by a negative feedback loop by gastric cells to maintain a suitable pH, however, the neuroendocrine tumor that is present in individuals with Zollinger–Ellison Syndrome has no regulation, resulting in excessively large amounts of secretion. Thus, there is an increase in the number of acid-secreting cells, and each of these cells produces acid at a higher rate. The increase in acidity contributes to the development of peptic ulcers in the stomach, duodenum (first portion of the small bowel) and occasionally the jejunum (second portion of the small bowel), the last of which is an 'atypical' ulcer.


title: Zollinger–Ellison syndrome

text: Zollinger–Ellison syndrome may be suspected when the above symptoms prove resistant to treatment when the symptoms are especially suggestive of the syndrome, or when endoscopy is suggestive. The diagnosis is made through several laboratory tests and imaging studies:


title: Zollinger–Ellison syndrome

text: In addition, the source of the increased gastrin production must be determined using MRI or somatostatin receptor scintigraphy.


title: Zollinger–Ellison syndrome

text: Proton pump inhibitors (such as omeprazole and lansoprazole) and histamine H2-receptor antagonists (such as famotidine and ranitidine) are used to slow acid secretion. Once gastric acid is suppressed, symptoms normally improve. Surgery to remove peptic ulcers or tumors might also be considered.


title: Zollinger–Ellison syndrome

text: The condition most commonly affects people between the ages of 30 and 60. The prevalence is unknown, but estimated to be about 1 in 100,000 people.


title: Zollinger–Ellison syndrome

text: Sporadic reports of unusual cases of peptic ulceration in the presence of pancreatic tumors occurred prior to 1955, but R. M. Zollinger and E. H. Ellison, surgeons at Ohio State University, were the first to postulate a causal relationship between these findings. The American Surgical Association meeting in Philadelphia in April 1955 heard the first public description of the syndrome, and Zollinger and Ellison subsequently published their findings in "Annals of Surgery".


title: Asian handicap

text: Asian handicap betting is a form of betting on football in which teams are handicapped according to their form so that a stronger team must win by more goals for a bet on them to win. The system originated in Indonesia and has gained popularity in the early 21st century. It is a form of spread betting. Handicaps typically range from one-quarter goal to several goals, in increments of half- or even quarter-goals.


title: Asian handicap

text: Most importantly, Asian handicap betting reduces the possible number of outcomes from three (in traditional 1X2 wagering) to two by eliminating the draw outcome. This simplification delivers two betting options that each have a near 50% chance of success.


title: Asian handicap

text: Asian handicaps are both good and bad for bookmakers. On one hand, they help bookmakers minimize risk by facilitating trading with parity or balancing the amount of wagering on each side of the match. This enables bookmakers to take larger positions on major matches. On the other hand, Asian handicap markets are typically low margin offerings that do not contribute as significantly to the gross win as higher vigorish betting options like 1X2.


title: Asian handicap

text: According to BetAsia, a publication owned by journalist Joe Saumarez Smith, the term "Asian handicap" was coined by journalist Joe Saumarez Smith in November 1998, after he was asked by an Indonesian bookmaker, Joe Phan, to provide a translation of the betting method that was termed 'hang cheng betting' by bookmakers in Asia.


title: Asian handicap

text: Football (soccer) is one of the few sports in the world where a draw is a fairly common outcome. With traditional fixed odds, draws are treated as an additional outcome to the game. In other words, bettors lose when they place a wager on either team to win and the game draws. With Asian handicaps, however, the chance for a draw is eliminated by use of a handicap that forces a winner. This creates a situation where each team has a 50-50 chance of winning; similar to the odds for a basketball or football spread handicap typically offered by Las Vegas sportsbooks.


title: Asian handicap

text: Asian handicap is a form of betting that creates a more level betting environment between two mismatched competing teams by giving a "handicap" (expressed in goals or points) to the teams before kick-off. In Asian handicap, a goal deficit is given to the team more likely to win (i.e. the Favourite) and a head start is given to the team less favoured to win (i.e. the Underdog).


title: Asian handicap

text: This system works in a straightforward manner. The bookmaker's aim is to create a handicap or "line" that will make the chance of either team winning (considering the handicap) as close to 50% as possible. Since the odds are as close to 50% as possible, bookmakers offer payouts close to even money, or 1.90 to 2.00. Asian handicaps start at a quarter goal and can go as high as 2.5 or 3 goals in matches with a huge disparity in ability. What makes Asian handicaps most interesting is the use of quarter goals to get the "line" as close as possible. Taken in conjunction with the posted total for the game, the handicap essentially predicts the game's final score.


title: Asian handicap

text: Subsequently, many matches are handicapped in ½ and ¼ intervals; both of which eliminate the possibility of a push since no one can score a half-goal. Quarter (¼) handicaps split the bet between the two closest ½ intervals. For instance, a $1000 bet with a handicap of 1¾ is roughly the same as betting $500 at 1½ and $500 at 2. With ¼ handicap bets, you can win and draw (win ½ of wager) or lose and draw (lose ½ wager). The ¼-goal handicap may be expressed by some bookmakers as "0 and ½", or as "pk and ½" (for "pick-em") - especially for bookmakers whose systems are designed for sports like American football and basketball, where bets have a handicap that is designed to make the odds as close to even as possible.


title: Asian handicap

text: The bettor's stake is automatically divided and placed as if it were 2 separate bets. More precisely, if the "draw" outcome is a half-loss, the stake will be divided equally; otherwise, the "potential win" amount will be, i.e. the stake of leg 1 will be inversely proportional to the decimal odds less stake of leg 2. This means that with a handicap point of 0-0.5 or 0 and ½, half of your stake is on the 0 point handicap and the other half is on the 0.5 handicap.


title: Asian handicap

text: Let's say you bet $100 on Everton -1.75 at odds 2.29. If they win by exactly two goals, then the outcome will be:


title: Asian handicap

text: However, the payout will be different. Obviously, H -1.5 would not "by itself" have odds of 2.29 - they would be lower. In order to achieve the goal of "half win and half push", the stakes (risked amount) can't be what's equal, it has to be the potential profit for each leg - half of the profit has to go on either side. Seen from the perspective of "splitting up the stakes", it might be divided as such:


title: Asian handicap

text: Explained: This handicap states that half of your bet goes on Newcastle to win, draw, or lose by less than 1 goal; and half on Newcastle to win, draw, or lose by less than 1.5 goals.


title: Asian handicap

text: If the final score is Everton 1-0 Newcastle, half your bet would be refunded due to draw (Everton 1 - +1 Newcastle, i.e: Newcastle lost by exactly one goal). The second half would win (Everton 1 - +1.5 Newcastle, i.e: Newcastle lost by less than 1.5 goals).


title: Asian handicap

text: In the event that a whole number is used for the handicap, the handicap adjusted final score could result in a draw. This situation is not a draw, but a push. With a push, all bettors have their original wagers returned as there is no winner. The plus signs in the Team result columns indicate "or more", eg. "2+" means "by 2 goals or more".


title: Modern Life Is Rubbish

text: Modern Life Is Rubbish is the second album by the English alternative rock band Blur, released in May 1993. Although their debut album "Leisure" (1991) had been commercially successful, Blur faced a severe media backlash soon after its release, and fell out of public favour. After the group returned from an unsuccessful tour of the United States, poorly received live performances and the rising popularity of rival band Suede further diminished Blur's status in the UK.


title: Modern Life Is Rubbish

text: Under threat of being dropped by Food Records, for their next album Blur underwent an image makeover championed by frontman Damon Albarn. The band incorporated influences from traditional British guitar-pop groups such as the Kinks and the Small Faces, and the resulting sound was melodic and lushly produced, featuring brass, woodwind and backing vocalists. Albarn's lyrics on "Modern Life Is Rubbish" use "poignant humour and Ray Davies characterisation to investigate the dreams, traditions and prejudices of suburban England", according to writer David Cavanagh.


title: Modern Life Is Rubbish

text: "Modern Life Is Rubbish" was a moderate chart success in the UK; the album peaked at number 15, while the singles taken from the album charted in the Top 30. Applauded by the music press, the album's Anglocentric rhetoric rejuvenated the group's fortunes after their post-"Leisure" slump. "Modern Life Is Rubbish" is regarded as one of the defining releases of the Britpop scene, and its chart-topping follow-ups—"Parklife" and "The Great Escape"—saw Blur emerge as one of Britain's leading pop acts.


title: Modern Life Is Rubbish

text: Blur's baggy-inspired debut album "Leisure" (1991) was a UK Top 10-charting record that, according to the "NME", made the band the "acceptable pretty face of a whole clump of bands that have emerged since the whole Manchester thing started to run out of steam". However, as the baggy scene soon began to fade, Blur were—according to "The Guardian"—"[s]wiftly exposed as bogus trend-hoppers, [and] they duly caught the wrath of the Madchester backlash". Further, following their fall from public favour, the group found that they were £60,000 in debt, mainly due to mismanagement. Blur hired new manager Chris Morrison and, to recoup losses, were sent by their record label Food to the United States as part of the Rollercoaster tour. To coincide with the start of the tour, Blur released the "Popscene" single; the new release showcased a significant change in musical direction, as Blur traded their shoegaze-derived sound for one influenced by 60s British guitar pop. However, the single failed to break into the UK top 30 which further diminished Blur's profile in the UK.


title: Modern Life Is Rubbish

text: The 44-date tour of the United States left Blur in "complete disarray", according to writer David Cavanagh. Dismayed by American audiences' infatuation with grunge and the lacklustre response to their music, the group frequently drank, and members often broke into fist-fights with one another. Homesick, the tour "instilled in the band a contempt for everything American", Cavanagh later wrote; frontman Damon Albarn, who "started to miss really simple things [about England]", listened to a tape of the English pop group the Kinks throughout the tour. He later stated the only pleasant memory he had of the tour was his time spent listening to the Kinks' song "Waterloo Sunset" (1967). Upon their return to England, the group discovered that the attention of the music press had shifted to Suede. The newcomers' success displeased Blur who, in Cavanagh's words, "were inclined to feel that every record Suede sold was an affront to human decency". After many poor live shows, which Blur members often performed while drunk—in particular one at a 1992 gig that featured a well-received performance by Suede on the same bill—Blur were in danger of being dropped by Food.


title: Modern Life Is Rubbish

text: Damon Albarn, in a 2000 "Mojo" interview, said that "Suede and America fuelled my desire to prove to everyone that Blur were worth it ... There was nothing more important in my life." He felt the popularity that American grunge music was enjoying in Britain at the time would soon fade, and argued that Blur would embody a renaissance of classic British pop on their next album. Food Records owner David Balfe strongly disagreed, and argued with Albarn over the proposed change in Blur's image. After the still-sceptical Balfe relented, Food warily gave Blur the go-ahead to work on their second album with Albarn's first choice of producer, XTC leader Andy Partridge. Partridge said he was dissatisfied with the songs, but was "immensely" fond of the band, likening them to XTC circa "Go 2". He said he agreed to the project "for the wrong reasons, the flattery and the money."


title: Modern Life Is Rubbish

text: Blur began working on the album with Partridge at The Church, a studio in Crouch End owned by David A. Stewart. However, the sessions ended prematurely. Bassist Alex James described the sessions as a "disaster"; he added that "as it was all being put together, they were all good parts, but it just wasn't ... sexy". Partridge recalled: "I felt quite fatherly and I thought I did sterling work. They got Dave Balfe really stoned to listen to some mixes and he was rolling around going, 'This is fantastic, you're George Martin and they're The Beatles.' Next day he'd say, 'Quite frankly, Andy, this is shit. The band successfully recorded four songs, but were wary about working in the same conditions again. The Partridge-produced tracks were abandoned; three were later included on the 2012 boxed set "Blur 21".


title: Modern Life Is Rubbish

text: Work resumed on the album due to a chance meeting with producer Stephen Street, who had previously worked with the band on their 1991 single "There's No Other Way". With Street now producing the album, Blur recorded a mix of material spanning both the period immediately after the release of "Leisure" and their 1992 tour. While the band members were pleased with the recording session results, Balfe, after hearing the songs, told the band they were committing artistic suicide. Although dejected by his response, Blur gave Food the completed album in December 1992. The label rejected the album and instructed the band to record more potential singles. Albarn complied, and on Christmas Day wrote the song "For Tomorrow". Although "For Tomorrow" sated Food's concerns, Blur's American label SBK voiced discontent upon hearing the finished tapes of the album. To appease SBK the band recorded "Chemical World", which Blur thought would increase "Rubbish"s American appeal. However, Blur refused SBK's demand of re-recording the album with American producer Butch Vig, who was popular at the time for his work with Nirvana.


title: Modern Life Is Rubbish

text: "Modern Life Is Rubbish" sound is highly influenced by the traditional guitar pop of British bands such as the Kinks, the Jam, the Small Faces and the Who. The album's songs explore a number of styles—punk rock ("Advert"), neo-psychedelia ("Chemical World"), and vaudeville music-hall ("Sunday Sunday"). Opening track "For Tomorrow" is, according to "NME", "quintessential Blur. Damon, perennially bored, never stops singing, and Graham [Coxon] supplie[s] his usual immaculate guitar accompaniment". While "Oily Water" harked back to the baggy sound of "Leisure", "NME" described "Intermission" as "a pub piano knees-up that rinky-dinks along then gets frazzled in guitars and speeded-up drums". Most of the songs on the album are melodic and lushly produced, often supplemented by a brass section, string arrangements and backing vocals. To offer contrast to the classicist songwriting, AllMusic noted that "Coxon's guitar tears each song open, either with unpredictable melodic lines or layers of translucent, hypnotic effects, and his work creates great tension with Alex James' kinetic bass".


title: Modern Life Is Rubbish

text: Deriving from "the biting humor of Ray Davies and the bitterness of Paul Weller", Albarn's lyrics on "Modern Life Is Rubbish" are a social commentary and satire on contemporary suburban English life. While "Rubbish" celebrates modern British life, it also takes a cynical look at middle-class existence. The overt Anglo-centricism of the album was also retaliation against American popular culture; James later explained, "it was f***ing scary how American everything's becoming ... so the whole thing was a f***ing big two fingers up to America". "NME" summarised the theme of the "thinly-veiled concept album" as a "London odyssey crammed full of strange commuters, peeping Thomases and lost dreams; of opening the windows and breathing in petrol ... It's the Village Green Preservation Society come home to find a car park in its place".


title: Modern Life Is Rubbish

text: The album's title derives from stenciled graffiti painted along Bayswater Road in London, created by an anarchist group. For Albarn, the phrase reflected the "rubbish" of the past that accumulated over time, stifling creativity. Albarn told journalist John Harris in 1993 that he thought the phrase was "the most significant comment on popular culture since 'Anarchy in the UK. Due to Blur's disdain for America at the time, the album's working title was "Britain Versus America".


title: Modern Life Is Rubbish

text: The painting of the steam locomotive "Mallard" on the album cover was a stock image that Stylorouge—Blur's design consultants—obtained from a photo library in Halifax. According to "Design Week" magazine, the painting by Paul Gribble "evoked the feel of a Just William schoolboy's pre-war Britain". Inside the packaging, there is an oil-on-canvas of the band dressed as mop-top skinheads in a tube train. The album's lyric sheets also feature the songs' chord progressions, hand-written by guitar player Graham Coxon. While Albarn explained that it was an attempt to "[let] people to know that, old-fashioned as it might seem, we write songs", "Total Guitar" magazine attributed the inclusion of the chords to Coxon's "keen[ness] to demystify guitar playing".


title: Modern Life Is Rubbish

text: To promote "Modern Life Is Rubbish", Food released "For Tomorrow" as the album's lead single in the UK in April 1993. The single, which showcased Blur's new sound and attitude, performed moderately well in the charts, reaching number 28. A few weeks later in May 1993, "Modern Life" was released. The announcement of the album's release included a press photo that featured the phrase "British Image 1" spraypainted behind Blur members (who were dressed in a mixture of mod and skinhead attire) and a Mastiff. At the time, such imagery was viewed as nationalistic and racially insensitive by the British music press; to quiet concerns, Blur subsequently released the "British Image 2" photo, which was "a camp restaging of a pre-war aristocratic tea party". The album peaked at number 15 on the UK Album Chart. In the next few months Food further issued two UK Top 30-charting singles—"Chemical World" and "Sunday Sunday"—to support the record; however, "Modern Life" only managed to sell around 40,000 copies at the time. Nonetheless, the mood within the Blur camp was positive, as the band felt they had accomplished something; James told writer David Cavanagh in 2000, ""Modern Life Is Rubbish" was a successful record because it achieved what we set out to achieve. I thought everything was shit except us".


title: Modern Life Is Rubbish

text: "Modern Life Is Rubbish" was released in the United States by Blur's American record label SBK in December 1993—seven months after the album's UK release. This delay was because SBK's alternative-music department had closed down; Blur manager Chris Morrison later quipped, "When I asked [SBK] why, they said it was because the girl had left." Despite fears that "Modern Life"s overt Englishness would be lost on the American market, SBK insisted on marketing the album to MOR stations and aimed for Top 40 airplay. The label largely ignored Morrison's arguments that Blur's best chance of exposure in America would be to court college radio-stations. SBK's strategy was to list the album at a developing-artist price (around three dollars less than standard), send the band on an intensive tour in 1994 and to target modern rock airplay with debut single "Chemical World". The record company believed this would help expand on the base audience who bought "Leisure", and eventually open Blur to Top 40 radio. Further, to lessen the anglocentric feel of the record, SBK added additional songs to the track-listing—including "Popscene". The plan fared poorly, as "Modern Life" had little impact in the US; the album did not chart on the US "Billboard" 200 and sold only 19,000 copies, a sharp decline compared to the 87,000 units that "Leisure" shifted.


title: Modern Life Is Rubbish

text: Among contemporary reviews, "NME" reviewer Paul Moody was mostly enthusiastic about the record and rated it seven out of ten. While he felt the album had "enough faults to give a surveyor nightmares", he was impressed that, unlike their peers, "Blur [had] thrown on their old clothes and stormed into No Man's Land with all guns blazing". Moody also praised the improvement in Albarn's lyrics, which had hitherto "[made] Eurovision Song Contest entries seem like great works of poetry". "Q"s David Roberts, in a favourable four out of five star review, called "Modern Life" "an energised, infectious romp around contemporary little England, by way of an exuberant trawl through a highly-coloured patchwork of its pop past". Roberts placed Coxon as the leading contender for "the vacant crown of <nowiki>[</nowiki>Smiths guitarist] Johnny Marr".


title: Modern Life Is Rubbish

text: Writing for the "Chicago Tribune", rock critic Greg Kot felt the album was a vast improvement over "Leisure", which he found "highly derivative" of the Madchester genre. "Nothing on ["Leisure"] prepares the listener for the adventurousness of "Modern Life is Rubbish"," he wrote, going on to describe the album as "a swirling, intoxicating song cycle that enriches superior popcraft with wiggy studio experiments." Although they found the album to be "overly lengthy", "Billboard" agreed with Kot, dubbing "Modern Life" "a giant leap forward artistically" from "Leisure". "St. Louis Post-Dispatch" writer Paul Hampel commended Blur for having "taken a bold step [with "Modern Life"] – backward", and pointed to their attempt at "a communion with past masters of smart, satirical Brit pop". He concluded his positive review of the album by calling it a "series of pleasant surprises [that] offers numerous signs that great things are to come from Blur".


title: Modern Life Is Rubbish

text: In August 1993, Blur set off on the Sugary Tea tour of the UK to promote "Modern Life Is Rubbish". Named after a lyric in "Chemical World", the tour was a success, as Blur reclaimed some of their popularity. A key performance was at that year's Reading Festival which, according to David Cavanagh, was "brilliant". On the tour, Blur performed a number of songs that would end up on the group's follow-up album, "Parklife" (1994).


title: Modern Life Is Rubbish

text: "Parklife" saw Blur expanding upon the themes and sounds they had first explored on "Modern Life Is Rubbish"; the "NME" described it as " 'Modern Life Is Rubbish's' older brother – bigger, bolder, narkier and funnier". "Parklife" debuted at number one on the UK charts, and helped Blur emerge as one of Britain's most popular acts. As Jim Shelley wrote in "The Guardian", "a year after Blur were dismissed as too mannered, too retrograde and too English, Parklife was embraced for exactly the same reasons". "Modern Life Is Rubbish" and "Parklife", along with "The Great Escape" (1995), formed what would be later referred to as the "Life" trilogy of Blur albums revolving around British themes.


title: Modern Life Is Rubbish

text: "Modern Life Is Rubbish" remains highly regarded by critics; Ian Wade of BBC Music wrote that the album was Blur's "first masterpiece... which established them as worthy of being mentioned alongside their heroes." It is seen as one of the early, defining releases of Britpop, a genre that would dominate British pop music in the mid-1990s. Writing for "The Guardian", John Harris called the album "one of the 1990s' most influential records". Stephen Thomas Erlewine of AllMusic felt that ""Modern Life Is Rubbish" established Blur as the heir to the archly British pop of the Kinks, the Small Faces, and the Jam" and that it "ushered in a new era of British pop". Mark Redfern wrote in "Under the Radar" magazine that following "Modern Life Is Rubbish", "[a] whole wave of Britpop bands followed in [Blur's] footsteps, and for a while, it was cool to be British again". In 2007, IGN listed the album at no. 4 in a 'Top 25 Britpop Albums' list. Their contributor wrote: "With so many seminal albums to their credit, it's hard to pinpoint one, but this is the one if you are forced into a corner." The album was also included in the book "1001 Albums You Must Hear Before You Die".


title: Modern Life Is Rubbish

text: The American release of "Modern Life Is Rubbish" features an altered track listing. Blur's American label SBK Records preferred the group's original demo of "Chemical World", and included it on the album instead of the Stephen Street-produced version. According to "Select" magazine, this "defeated the object of recording a heavy rock song in the first place". SBK inserted "Popscene" between "Turn It Up" and "Resigned"; Blur had refused to include "Popscene" on the British version of "Modern Life", disappointed by the tepid response it received when it was released as a single. "We thought, If you didn’t fucking want it in the first place," Coxon told "Select", "you’re not going to get it now". The American version also features several tracks with a few seconds of silence (tracks 18 to 67 on the CD), followed by two "For Tomorrow" B-sides ("When the Cows Come Home" and "Peach") as hidden tracks 68 and 69.


title: Modern Life Is Rubbish

text: Following the release of the "Blur 21" box set, a special edition of the album was released on 7 August 2012, featuring the remastered original album packaged with an additional disc of bonus material.


title: Cetshwayo

text: King Cetshwayo kaMpande (; ; 1826 – 8 February 1884) was the king of the Zulu Kingdom from 1873 to 1879 and its Commander in Chief during the Anglo-Zulu War of 1879. His name has been transliterated as Cetawayo, Cetewayo, Cetywajo and Ketchwayo. Cetshwayo consistently opposed the war and sought fruitlessly to make peace with the British, and was defeated and exiled following the Zulu defeat in the war. He was later allowed to return to Zululand, where he died in 1884.


title: Cetshwayo

text: Cetshwayo was a son of Zulu king Mpande and Queen Ngqumbazi, half-nephew of Zulu king Shaka and grandson of Senzangakhona. In 1856 he defeated and killed in battle his younger brother Mbuyazi, Mpande's favourite, at the Battle of Ndondakusuka. Almost all Mbuyazi's followers were massacred in the aftermath of the battle, including five of Cetshwayo's own brothers. Following this he became the ruler of the Zulu people in everything but name. He did not ascend to the throne, however, as his father was still alive. Stories from that time regarding his huge size vary, saying he stood at least between and in height and weighed close to .


title: Cetshwayo

text: His other brother, Umthonga, was still a potential rival. Cetshwayo also kept an eye on his father's new wives and children for potential rivals, ordering the death of his favourite wife Nomantshali and her children in 1861. Though two sons escaped, the youngest was murdered in front of the king. After these events Umtonga fled to the Boers' side of the border and Cetshwayo had to make deals with the Boers to get him back. In 1865, Umthonga did the same thing, apparently making Cetshwayo believe that Umtonga would organize help from the Boers against him, the same way his father had overthrown his predecessor, Dingane.


title: Cetshwayo

text: Furthermore, he had a rival half-brother, named uHamu kaNzibe who betrayed the Zulu cause on numerous occasions.


title: Cetshwayo

text: Mpande died in 1872. His death was concealed at first, to ensure a smooth transition; Cetshwayo was installed as king on 1 September 1873. Sir Theophilus Shepstone, who annexed the Transvaal to the Cape Colony, crowned Cetshwayo in a shoddy, wet affair that was more of a farce than anything else, but turned on the Zulus as he felt he was undermined by Cetshwayo's skillful negotiations for land area compromised by encroaching Boers and the fact that the Boundary Commission established to examine the ownership of the land in question actually ruled in favour of the Zulus. The report was subsequently buried. As was customary, he established a new capital for the nation and called it Ulundi "(the high place)". He expanded his army and readopted many methods of Shaka. He also equipped his impis with muskets, though evidence of their use is limited. He banished European missionaries from his land. He might have incited other native African peoples to rebel against Boers in Transvaal.


title: Cetshwayo

text: In 1878, Sir Henry Bartle Frere, British High Commissioner for the Cape Colony, sought to confederate the colony the same way Canada had been, and felt that this could not be done while there was a powerful Zulu state bordering it. Frere thus began to demand reparations for Zulu border infractions and ordered his subordinates to send messages complaining about Cetshwayo's policies, seeking to provoke the Zulu king. They carried out their orders, but Cetshwayo kept calm, considering the British to be his friends and being aware of the power of the British Army. He did, however, state that he and Frere were equals and since he did not complain about how Frere administered the Cape Colony, the same courtesy should be observed by Frere in regards to Zululand. Eventually, Frere issued an ultimatum that demanded that Cetshwayo "de facto" disband his army. His refusal led to war in 1879, though he continually sought to make peace after the Battle of Isandlwana, the first engagement of the war. After an initial decisive but costly Zulu victory over the British at Isandlwana, and the failure of the other two columns of the three pronged British attack to make headway – indeed, one was bogged down in the Siege of Eshowe – the British retreated, other columns suffering two further defeats to Zulu armies in the field at the Battle of Intombe and the Battle of Hlobane. However, the British follow-up victories at Rorke's Drift and Kambula prevented a total collapse of the British military positions. While this retreat presented an opportunity for a Zulu counter-attack deep into Natal, Cetshwayo refused to mount such an attack, his intention being to repulse the British offensive and secure a peace treaty. However Cetshwayo's translator, a Dutch trader he had imprisoned at the start of the war named Cornelius Vijn, gave warnings to Chelmsford of gathering Zulu forces during these negotiations.


title: Cetshwayo

text: The British then returned to Zululand with a far larger and better armed force, finally capturing the Zulu capital at the Battle of Ulundi, in which the British, having learned their lesson from their defeat at Isandlwana, set up a hollow square on the open plain, armed with cannons and Gatling guns. The battle lasted approximately 45 minutes before the British ordered their cavalry to charge the Zulus, which routed them. After Ulundi was taken and burnt on 4 July, Cetshwayo was deposed and exiled, first to Cape Town, and then to London. He returned to Zululand in 1883.