title: Gongura

text: Gongura is popular in the state of Andhra Pradesh, Karnataka, Manipur, Tripura and also Mizoram. A baby gongura leaf is a full leaf. As the leaf grows older, the leaf splits into four or more parts.


title: Gongura

text: Other well known recipes made with Gongura as the main ingredient are "Gongura pappu" (lentils), "Gongura mamsam" (goat/mutton) and "Gongura royyalu" (shrimp). In recent times, Gongura Chicken is also being served in restaurants. Gongura and calabash is extremely popular with the Telugu community in South Africa. It is also eaten by Acholi and Lango people in northern Uganda, where it is known as "malakwang".


title: Gongura

text: In the Bodo Community of Assam too, 'Gongura' called as 'Mwitha' is taken very frequently, it is prepared as curry with pork, 'Mwitha-Oma', with pond fish as 'Mwitha-na' with prawns as 'Mwitha-nathur'. The leaves having sour tastes and slippery texture blends easy and makes a wonderful dish with non-veg items. The Bodo community believes that intake of sour helps in fighting the scorching summer heat and prevents illness.


title: Mr. Rager

text: "Mr. Rager" is a song recorded by American musician Kid Cudi, taken from his second studio album, "" (2010). The song was officially released via digital download, on October 25, 2010, as the album's second single. The lyrics were written by Cudi, while the music was written by his frequent collaborator, Emile Haynie.


title: Mr. Rager

text: In 2021, Kid Cudi released a alternate version of the song, which originally premiered on Amazon's Prime Day Show. The alternate version was included on an extended play (EP) titled "Prime Day Show x Kid Cudi", issued exclusively on Amazon Music, on June 17, 2021. The original song was later included on Cudi's first greatest hits album "The Boy Who Flew to the Moon, Vol. 1" (2022).


title: Mr. Rager

text: Cudi took his persona of playing the part of a brooding loner several steps forward on his second studio album "" (2010). His second effort contains a five-part narrative following a character who attempts to act like the hip-hop star he has since become. Hence, he plunges into a world of bravado and after-parties, with their never-ending supply of drugs and women. In an interview with "Complex" magazine, Cudi shed light on the title track's meaning. He explained "Mr. Rager" is about someone who is tired with reality and looking for thrills and excitement by any means. Cudi said, "It's just kind of how I was feeling at that point. I was just so angry. Doing coke revived me, and knowing I was so close to death every time intrigued me. I liked the thought of it." On October 20, 2010, "Complex" released a video, filmed while they were shooting Cudi's cover story, on where Cudi continued explaining the concept of "Mr. Rager". He elaborated, "The whole 'Mr. Rager' thing is not really like a split personality, it is i. However, it's just kinda talking about a certain mind state I was in, a very destructive mind state, where I wasn't thinking clearly.


title: Mr. Rager

text: "Mr. Rager" is a song with a meaning that is close to Kid Cudi. His character embodies a battle between instinct and impulse, both good and bad, still coming to terms with. The song's lyrics are about Cudi's battle with drugs, with lines referencing about almost overdosing one time. Cudi acknowledged using cocaine during a Converse show back in July 2010, said he was going to be around until he was "old as fuck" and apologized to his fans for letting them down. Cudi said, "Every time I snap. I'm sitting there making songs like 'Heart of a Lion' and talking about getting through anything, and rising up, and I'm up here snapping and letting people break my shell. I have to practice what I preach. I get strength, and the kids use it." Cudi conceded that death was a recurring theme for him. He imparted, "...but I'm at a different point in my life, and I don't even like talking about that. I've been thinking positive and keeping my mind out of the clouds. You can't take things so seriously, but I gambled for a long time. Shit was intense, it was a journey."


title: Mr. Rager

text: The recording sessions for "Mr. Rager" took place at Nightbird Studios at The Sunset Marquis, California and Avex Studios in Honolulu, Hawaii. The track was mixed at Larrabee Studios in Los Angeles, California. The song as well as its studio album, "Man on the Moon II: The Legend of Mr. Rager" musically and thematically expands on what Cudi had previously built, but with a closer look into his life. The record experiments with crossover music, boasting flashes of rock guitars alongside marching production. Alongside guitar, the track features low bass, electro flourishes and ticking percussion. Regarding the song, Cudi stated, [The track] is very important to me… it made me switch the whole theme on my album. It was time to show off another side of me — a side that's more aggressive." Both the writing and recording of "Mr. Rager" was influenced by Cudi's former addiction to cocaine. He made his first attempted to record the title track around 2010. However, he could not hit the high notes. so he decide to quit and try the song again months later.


title: Mr. Rager

text: "Mr. Rager" is an arena anthem tinged with rock guitars that runs for four minutes and fifty-six seconds. The lyrics were written by Cudi while the music was written by Emile Haynie. The ghostly, hypnotic musical arrangement is driven by a teasing, descending guitar riff. An epic slow-jam, it has a glimmery, ticking background underscored with low bass and guitar. They are anthemic in nature, with Cudi intoning lines in a sing-a-long manner. The track features a repeated hook, with Cudi wailing: "Mr. Raaggggeeerrrrrrrrrrrr."


title: Mr. Rager

text: The song's lyrics address death, escapism and the quest for excitement. "Mr. Rager" acts a dark, foreboding theme song in which Cudi imagines himself an anti-heroic role model telling kids about his adventures. From the perspective of his errant title character, he softly about envy of the birds just "singin', flyin' around." Mr. Rager is a tall imposing figure who, upon being released from worldly restrictions, sets off on a cryptic journey. Upon asking their enigmatic anti-hero: "Mr. Rager, tell me some of your stories," a warped voice mysteriously replies, "I'm off on an adventure," to which Cudi pleads, "Can we tag along?" Cudi sings to himself, pleading, "Tell me where you're going…when will the fantasy end?" His lyrics ambivalently allude to rapture and death, singing, "I'm on my way to heaven."


title: Mr. Rager

text: "Rolling Stone" writers Steve Appleford, Matt Diehl and Gavin Edwards called the song an "infectious hit" and found it emotional. Simon Vozick-Levinson for "Entertainment Weekly" cites "Mr. Rager" as one of the best songs from "". He commented, "Eight-minute epic Mr. Rager, his spooky theme song." Within the album's context, "Spin"s Charles Aaron remarked, "'Mr. Rager,' a would-be arena anthem with a teasing guitar riff that never ascends, is the ingenious anticlimax." William Goodman, from the same publication, claimed that "the dark soul jam featured sinister electro flourishes, clacking percussion, and a repeated hook about partying too much — 'Mr. Raaggggeeerrrrrrrrrrrr' — that could find its way into the heads of rap fans worldwide." Jon Pareles from "The New York Times" likened the song's "ticking, tinkly foreboding" background to "Money" by Pink Floyd. "Chicago Tribune" critic Greg Kot stated, "The music struts (and flirts with crossover acceptance, ala OutKast or Kanye West)."


title: Mr. Rager

text: "Respect." claimed that Cudi brought on a classic with "Mr. Rager." Robby Seabrook of "XXL" considered "Mr. Rager" one of the tracks from "Man on the Moon II" which are key to his career. He praised the song for its "sing-a-long factor and embodiment of Cudi's ethos." Ian Servantes of "The Red Bull Music Academy" deemed "Mr. Rager" Cudi's second best song. He stated, "Mr. Rager is an alter ego just as necessary for Scott Mescudi as he is for us. Unbound by earthly shackles, he's off on a journey cryptic enough for anyone to project their own destination. ... It's an intoxicating message, an inspiring decree, made only more enticing by the march of Emile's production." Andy Bustard from "The Boombox" described the song as the parent album's "glimmering and wondrous centerpiece." He stated, "'Mr. Rager' is naturally a Kid Cudi song that resonates deeply with a lot of people. Just take the story of Ben Breedlove, a teenager diagnosed with a severe heart condition who had a vision of hearing 'Mr. Rager' and meeting Kid Cudi, who he believed was his angel. That right there epitomizes the impact Scott Mescudi, and this song, has on peoples' lives." Calling the song "strangely hypnotic," "Billboard"s Jason Lipshutz regards "Mr. Rager" as one song from Cudi's interim period that deserved more attention than it received.


title: Mr. Rager

text: Kid Cudi first spoke of the music video on March 5, 2011, via his Twitter feed, when he announced: "[the] maniac horror short will be released on halloween, rager short this summer, marijuana video this spring. I got you guys, no worries."


title: Mr. Rager

text: The music video for "Mr. Rager" was directed by Jeremie Rozan of Surface to Air Studios. Rozan had been behind the EMA-winning video for Justice x Simian's "We are Your Friends". Kid Cudi collaborated with his studio's fashion line to create an exclusive line of jackets. His video screened at Surface to Air's Fashion Night Out Party in New York on September 8, 2011. It debuted on a Thursday afternoon, almost ten months after the release of his second studio album. The video arrived in support of the new line of jackets by Kid Cudi's clothing boutique Surface to Air.


title: Mr. Rager

text: The music video for "Mr. Rager" took the form of a six-minute short film. It displays Cudi fighting his way through hordes of gritty yet well-dressed gang members. Situated in a post-apocalypic life, Cudi engages in battle with a gang of violent psychopaths. For a time, Cudi performs quite well for himself and lands a myriad of blows against his opponent; until he's gutted by his evil doppelganger. The video features a cameo appearance from Cudi's mentor, Kanye West.


title: Mr. Rager

text: Kid Cudi provided a live rendition of "Mr. Rager" during a concert held at the University of Illinois' Assembly Hall in Champaign, Illinois. The concert was the second stop on a mini-tour of colleges leading up to the release of his third studio album, "Indicud". The emotional performance was accompanied by audiences holding lighters.


title: Mr. Rager

text: Cudi performed "Mr. Rager" for a set held at Barclays Center in Brooklyn during his extended his fall "Cudi Life Tour" on March 22, 2015. A few of his prior shows from the tour had been cancelled and rescheduled due to his illness. Cudi performed atop a stage that featured a prickly, frigid-looking cave. He wore his "Satellite Academy Space Suit," a matte grey neck-to-toe 'fit is that is of a variant of Iron Man's uniform. After a groaning rendition of "Soundtrack 2 My Life", Cudi closed the song with a brief story about his cocaine addiction and how it negatively affected his singing years ago. He then segued into "Mr. Rager," during which Cudi wailed the song's chorus and humorously said, "Say no to coke!"


title: Mr. Rager

text: Kid Cudi gave a live performance of "Mr. Rager" before a crowd of 90,000 fans for the annual Coachella Valley Music and Arts Festival held at the Empire Polo Club in Indio, California, in the Coachella Valley in the Colorado Desert. With a grin on his face, Cudi leaped across the stage and sang the song wearing a red cut-off T-shirt matching his microphone. He cheerfully told the audience, "Let's get through this, I want to go catch MGMT after this." His performance was cited as one of the fifty greatest moments of Coachella by Rolling Stone staffers, who labeled him, "Happiest First-Timer." They wrote, "It's one of the Coachella rituals: performers from Los Angeles announce how many years they attended the festival as fans before they got tapped to play, while first-timers from out of town declare how excited they are to be there. But nobody seemed happier to be making his Coachella debut than Kid Cudi."


title: Mr. Rager

text: American internet personality Ben Breedlove died from his life-long heart condition shortly after making a YouTube tribute to Kid Cudi. According to ABC News, he died on Christmas night at the age of 18 from a heart attack. ABC News reported Ben Breedlove suffered from hypertrophic cardiomyopathy, a condition that makes it hard for his heart to pump blood and causes part of the heart to thicken. Kid Cudi, who Breedlove had said came to him in a vision during YouTube videos he posted before his death, was among the millions touched by his memory. Upon coming across Breedlove's story, Cudi was moved by his strength. Cudi broke down after watching the two-part YouTube video the young fan posted. Shortly afterward, Kid Cudi wrote a heartfelt letter on Tumblr dedicated to Ben Breedlove expressing his condolences.


title: Mr. Rager

text: On December 18, 2011, Breedlove posted a sequence of YouTube videos in which he used notecards to describe the three times that he "cheated death". Breedlove's words were written in bold black ink. They imparted his hopes, dreams and fears about life, death and the heart condition. Over the course of the videos, Breedlove recalled his brushes with death at the age of 4, another in 2007 and once more on December 6, 2011. During the videos, he explained that the third occasion happened in early December after passing out at school. As paramedics worked to revive him, Breedlove said he had a vision of Kid Cudi, whom he idolized. Alongside Cudi appearing to him, "Mr. Rager" played, which is his favorite song. He wrote, "Why he was the only one there with me, I'm still trying to figure out." At the end of the vision, according to Breedlove, Kid Cudi told him, "Go on." He wrote that vision came to him on December 6 as he was being resuscitated after collapsing in the hallways of his high school. Breedlove saw Kid Cudi in a bright white room where there seemed to be no sound or walls, and both were dressed in suits. Breedlove describes a sense of overwhelming calm, a peaceful feeling which last experienced at the age of 4 during a life-threatening seizure. The messages of his handwritten index cards were read by more well over a million people.


title: Mr. Rager

text: Ben's sister Ally Breedlove has written a book about the life of her brother in which she remembers the visions of heaven he experienced. The book is entitled "When Will the Heaven Begin?", named after a lyric from Cudi song, which Ben said he heard when he saw heaven. After leaving college to work on the book, Ally interviewed friends and family, including her parents, Shawn and Deanne, as well as her younger brother, Jake. Ally was assisted in writing by co-author Ken Abraham, whom she calls a "mentor". She reflected on her time with her brother and celebrated his life. Ally shared stories of Ben's struggle with hypertrophic cardiomyopathy as well as his love of wake-boarding, pranks and pop music. She revealed one of her most poignant memories she had with Ben was the conversation regarding what he called his "vision" in the YouTube video, about observing seeing when he was in cardiac arrest. Ally imparted, "Ben told me when we were sitting on the dock [at their house on Lake Austin]. Ben was never serious, he was always joking around. But I could hear in his voice and see in his facial expression how earnest he was when he said to me, 'I call this a dream or a vision because I don't know how else to describe it. But I was awake.'" "When Will the Heaven Begin?" reached the top ten on "The New York Times" Best Seller list beginning the first week of its release date. Her memoir follows other best-selling releases of spiritual books about heaven, including "Heaven Is for Real" by Todd Burpo, "" by Eben Alexander and "To Heaven and Back" by Mary Neal. However, Ally Breedlove, who herself believes in heaven, says she has no religious agenda. She said, "I am really just trying to stay true to the message in Ben's video. He wasn't trying to convince anyone of anything. He simply told his story. He said, 'This is what I've experienced. This is what I've felt throughout my life. These are the things that were so real to me and this is the profound peace I felt. This is my story.'"


title: Mr. Rager

text: On December 26, 2011, Kid Cudi went on Tumblr to share an open letter written for one of his fans. Ben Breedlove, an 18-year-old internet personality from Austin, Texas, had died on Christmas Day due to a heart condition. In one of his viral videos, the late Ben Breedlove, relayed a message about his near-death experiences and visions of heaven, stating that "Mr. Rager" was his favorite song. He had battled with the disease hypertrophic cardiomyopathy (HCM) his entiere life. Nearly one week before his death, Breedlove shared his personal story with viewers through YouTube in a touching two-part video series. He narrated his life experience with HCM by means of writings on index cards. They imparted his hopes, dreams and fears concerning life, death and the heart condition that would ultimately take his life on Christmas Day. Beginning when he was 4-years-old, Breedlove's heart condition sent him into cardiac arrest three times prior to the attack that killed him. His latter memory involved passing out in school and paramedics trying to revive him. Ben's heart ceased beating and he stopped breathing for three minutes. During that time he saw a vision of Kid Cudi, who was his favorite rapper. In his vision, Breedlove found himself recalling lyrics to "Mr. Rager": "When will the fantasy end/when will the heaven begin." A memoir about Ben Breedlove, written by his sister Ally Breedlove, was released in October 2013. The memoir's title was "When Will the Heaven Begin?", taken from the line in the song.


title: Mr. Rager

text: "The Cleaning Lady" Season 1, Episode 9, "Coming Home Again" featured the song at the closing of the episode.


title: Steatoda grossa

text: Steatoda grossa, commonly known as the cupboard spider, the dark comb-footed spider, the brown house spider (in Australia), or the false widow or false black widow (though several other species are known by these names), is a common species of spider in the genus "Steatoda".


title: Steatoda grossa

text: It is a cosmopolitan species found in many parts of the world, including North America, Australasia, and Europe.


title: Steatoda grossa

text: As two of this spider's common names indicate, the spider superficially resembles, and is frequently confused for, the black widow and other venomous spiders in the genus "Latrodectus".


title: Steatoda grossa

text: Like black widows, the female "S. grossa" is 6-10.5 mm in length and dark colored with a round, bulbous abdomen. Typical coloration ranges from purplish brown to black, with light-colored markings. Unlike black widows, redbacks, and other "Latrodectus" species, "S. grossa" does not have a bright red hourglass pattern or any other bright, distinctive markings. Like many spiders, the male is sometimes smaller but can many times be nearly as long as the females. It measures 4.1-10.0 mm in length and is thinner than the female. The two sexes are colored similarly; however, the sexually mature male almost always has lighter, more reddish-coloured legs than the female. "S. grossa" spiders may shed up to six times (instars) before reaching maturity. According to Charles Hogue (Insects of the Los Angeles Basin, 1993), it reportedly preys on black widows. They can go several months without feeding, provided they have access to water. A well-fed female can lay three or more egg sacs each year. Each egg sac typically contains between 40-100 eggs. The mother can often be observed watching her eggs for hours, even days, at a time once the eggs start changing color and grow close to hatching. At normal household temp/humidity, an egg will usually hatch within a month of being laid. The spiderlings are independent from time of hatch.


title: Steatoda grossa

text: Female "S. grossa" spiders can live up to six years; the typical lifespan for the male is 1-1.5 years. Males often die shortly after mating.


title: Steatoda grossa

text: As is common with other members of the family Theridiidae, "S. grossa" constructs a cobweb, i.e. an irregular tangle of sticky silken fibers. As with other web weavers, these spiders have very poor eyesight and depend mostly on vibrations reaching them through their webs to orient themselves to prey or warn them of larger animals that could pose a danger. They are not aggressive, and most injuries to humans are due to defensive bites delivered when a spider gets unintentionally squeezed or pinched. It is possible that some bites may result when a spider mistakes a finger thrust into its web for its normal prey, but ordinarily intrusion by any large creature will cause these spiders to flee.


title: Steatoda grossa

text: "S. grossa" is a cosmopolitan species and is found in many parts of the world, including all three coasts in North America, in Australia and New Zealand, and in Europe.


title: Steatoda grossa

text: A related species, commonly found in North America, is "Steatoda borealis". This spider is similar to "S. grossa" in shape, but slightly smaller, and is generally found in colder climates. This spider can be identified by colored markings on the dorsal side of its abdomen rather than on the ventral side.


title: Steatoda grossa

text: The bite of "S. grossa" is known to be medically significant in humans, but minor, without any long-lasting effects. Symptoms of bites include blistering at the site of the bite, muscle spasms, pain, fever, sweating, and/or a general malaise lasting for several days. "Latrodectus" antivenom was shown to be effective in treating bites from "Steatoda grossa" after it was mistakenly administered to a "S. grossa" bite victim who was erroneously believed to have been bitten by the far more dangerous redback.


title: Lift Yourself

text: "Lift Yourself" is a song by American rapper Kanye West. West wrote the song alongside James Massie and Ben Winters, and produced it with additional production from Mike Dean. The song was debuted on April 27, 2018, through West's website and was released by GOOD Music and Def Jam three days later for digital download and streaming as a standalone single. The first release of new music from West since his seventh studio album, "The Life of Pablo" (2016), it was perceived by numerous fans and publications to be him trolling them. The song samples Amnesty's "Liberty" and Dancer's "Boom Boom". Following a long build-up, West scats towards the end of the song, rapping nonsensical words.


title: Lift Yourself

text: "Lift Yourself" received mixed to negative reviews from music critics, many of whom panned the lyrics and dismissed the song for lacking seriousness. Some praised the production, while a few critics expressed more positive feelings towards West's troll performance. The song peaked at number two on the US "Billboard" Bubbling Under Hot 100 chart, while also appearing on charts in Ireland, New Zealand, and Sweden. West and the Sunday Service Choir performed it live on multiple occasions in 2019, including a performance at the Coachella Valley Music and Arts Festival. Smokepurpp released his remix of the song in April 2018, which West approved of. The following month, Pusha T confirmed the existence of a version of the song that has proper lyrics but has not yet been released.


title: Lift Yourself

text: "Lift Yourself" samples the guitar and vocal demo recording "Liberty" by American funk group Amnesty, who had re-issued a number of their recordings through Now-Again Records by 2018, including the compilation album "Free Your Mind: The 700 West Sessions" (2007). The record label has an affiliation with Stones Throw Records, which American musician Madlib is signed to; he worked with West on the latter's seventh studio album "The Life of Pablo" (2016). Now-Again founder Eothen "Egon" Alapatt licensed the usage of "Liberty" for West, following on from him having previously cleared a sample of Amnesty's work for frequent West collaborator Jay-Z's song "F.U.T.W." in 2013. Alapatt admitted that he found out about the track "five hours before it went live" and recalled having to "pre-clear a song I didn't hear, and expect to work out the details later in a way that was equitable to everybody." He continued, remembering "listening to ['Lift Yourself'] that evening" and being like, "You've got to be kidding me." Alapatt stated he thought to himself that he "just said yes to an internet troll, and no one's gonna get paid, and it's gonna be a complete nightmare," but believed things turned out to be "cool" in the end. Although he found "Liberty" on a demo tape in 2001 and later released it on "Free Your Mind: The 700 West Sessions", Alapatt did not recognize how great the recording was until West sampled it.


title: Lift Yourself

text: Shortly before the release of "Lift Yourself", West announced the track via Twitter. As part of the announcement, he used fire emojis to represent the track's "bars", promising to put out a song with a verse that will bring Hot 97 radio disc jockey Ebro Darden "the closure he's been seeking;" this promise was made after Darden had recently criticized West for his right-wing political views. Due to marking the first song dropped by West for a while, the April 2018 release of the track ignited excitement. However, after listening, the track sparked fans and multiple publications, including "Pitchfork", Uproxx, "Good Morning America", and "XXL", to believe that West was trolling them. In response to the track, Darden tweeted: "We already knew you was #TrollYeWest." The track was produced by West, with additional production from Mike Dean. West co-wrote it with James Massie and Ben Winters.


title: Lift Yourself

text: GOOD Music president Pusha T revealed on May 25, 2018 that a version of "Lift Yourself" with "real other lyrics" exists and may be released on West's then-upcoming album. Pusha T continued, voicing the belief the track's beat being "so fire" demonstrates West's "level of confidence and arrogance," and recalled that during the creation of the released version, West was like, "You know what? I'mma throw this out and show them what I think of all that. It's nothing." In September 2018, West admitted Canadian rapper Drake had some ill feelings towards him because he used the beat for "Lift Yourself" that Drake originally wanted. West stated that he should have given Drake an opportunity before releasing the final version and also apologized to him over their falling out, which was led to by West's usage of the beat and his role in Pusha T's feud with Drake.


title: Lift Yourself

text: Musically, "Lift Yourself" is an avant-garde track, which features scatting from West. For the first two minutes of the song, a chopped up sample of "Liberty" by Amnesty is used to construct its lyrics and melody. The sample speeds Amnesty's vocals up, being reminiscent of West's early production work with the speed alteration technique. "Lift Yourself" also includes a sample of "Boom-Boom" (1987) by Dancer. The song features drum programming, which was contributed by Benji B. After "Liberty" is sampled for roughly two minutes, "Lift Yourself" transitions into West's performance during the remainder, with him delivering it in around 30 seconds close to the end of the song.


title: Lift Yourself

text: Before West's verse starts, he assures listeners that it is going to be great, warning them to "watch this shit go." In West's verse, he utters nonsensical phrases based around the words poop, scoop, and whoop. West's verse includes him saying, "Whoopdedy-scoop, whoopdedy-whoop-scoop-poop, poop, poop," and the song abruptly ends after the verse. The editors' notes on iTunes questioned whether the song is meant as inspiration or an inside joke by West.


title: Lift Yourself

text: West tweeted out a link to his website on April 27, 2018. Once the website loaded, it played the track's MP3 file. "Lift Yourself" marked West's first piece of new music since "The Life of Pablo" in 2016. It was released for digital download and streaming as a single on April 30, 2018. The track was met with mixed to negative reviews from music critics, who often criticized its lack of seriousness. Alex Young was highly negative in "Consequence of Sound", saying the track is "not really a song so much as a musical poop joke," panning West's performance. "Vulture"s Frank Guan slammed the song as "terrible" and commented that West "inhabits a theatre of the absurd where scatological squibs count as songs and ignoring your critics constitutes a constructive dialogue with them," citing his position as being obviously stupid. The staff of "Dazed" analyzed that "Lift Yourself" is "not really a song" and is instead "what appears to be more ephemeral pranking," specifically writing off West's lyrical performance. "Pitchfork" writers Amanda Wicks and Braudie Blais-Billie noted "Lift Yourself" for being a "strange, gibberish track."


title: Lift Yourself

text: Tom Breihan of "Stereogum" pointed out that the song is "clearly a goof" but "sort of catchy," though praised the sped-up sample for showing West has been "digging back through his old bag of tricks" and also complimented the "echoing, cavernous, almost dancehall-esque drums." Breihan confessed that the song, along with "Ye vs. the People" and West's political nature being expressed in 2018, demonstrated West had not thought things through. Corbin Reiff from Uproxx called the song an "unapologetic" and "flatulent troll job," but highlighted the "fire" beat and concluded by pointing to "Lift Yourself" as a "massive upgrade" over "Ye vs. the People". In a positive review for "Rolling Stone", Christopher R. Weingarten opined that dismissing the track "as the musical version of trollface.jpg is shortsighted and ahistorical." He elaborated by expressing certainty the lyrics "are complete and total jabberwocky" while writing that "immediately washing your hands of them ignores a long, proud, defiantly pop tradition of gibberish in popular music" and questioning, "Where would music be without nonsense?" Weingarten acknowledged the track "may be the first rap song from a major celebrity to truly embrace the aesthetics of SoundCloud rap" and viewed it as "uplifting instead of moody," as well as noting the "classic Eighties sample-chop techniques." "XXL" author Peter A. Berry lauded the track for West's execution of "one of the best trolls of 2018 thus far," which Berry attributed to the lyrical content.


title: Lift Yourself

text: "Lift Yourself" debuted at number five on the US "Billboard" Bubbling Under Hot 100 chart for the issue dated May 12, 2018, selling 4,000 copies and receiving 7.2 million streams in its first week. The song was outperformed by the debut of West's "Ye vs. the People" that week, which entered at number 85 on the US "Billboard" Hot 100. The following week, "Lift Yourself" rose three places on the US Bubbling Under Hot 100, peaking at number two. The song lasted for two weeks on the chart. In Sweden, "Lift Yourself" peaked at number 91 on the Sverigetopplistan chart. The song entered at number 94 on the Irish Singles Chart. It further reached number six on the New Zealand Heatseekers chart.


title: Lift Yourself

text: West and his gospel group the Sunday Service Choir performed a rendition of "Lift Yourself" at the group's first concert on January 7, 2019, with the performance beginning at the concert's 4:11 mark. Later that month, the Sunday Service Choir delivered a rendition of the song at their second concert. For a Sunday Service concert on March 17, 2019, West and the group performed a gospel version of the song. During the performance, Kanye's daughter North West started to dance as he leant down while performing. Kanye and the Sunday Service Choir headlined the 2019 Coachella Festival on April 21, coinciding with Easter that year, and performed the song as part of their set. At one point of the performance, Kanye allowed North to deliver certain lyrics from the song, who requested her cousin Penelope Disick to join in while performing.


title: Lift Yourself

text: On April 28, 2018, rapper Smokepurpp shared his remix of "Lift Yourself" via Twitter, later releasing it on SoundCloud and his website. Similarly to Kanye West's performance on the original, Smokepurpp trolls on the remix, which includes him delivering random sounds and ad-libs. He does not make a complete bar or rhyme scheme on it, though mentions fellow rapper J. Cole. West posted the remix to Twitter on the same day as its release, explaining he did not do this "as a diss to J Cole," saying he loves him and "also love[s] where Purp took his flow." West re-used the nonsense "whoop" and "scoop" words from the song on Pusha T's track "What Would Meek Do?", which was released in May 2018 on his third studio album "Daytona". The following month, West rapped "scoop" on "Freeee (Ghost Town, Pt. 2)" by Kids See Ghosts, a hip hop duo consisting of him and Kid Cudi, from the duo's eponymous debut studio album. West released "XTCY" as a single in August 2018, which features him alluding to "Lift Yourself" by performing "whoopity-scoop" ad-libs.


title: Locum

text: A locum, or locum tenens, is a person who temporarily fulfills the duties of another; the term is especially used for physicians or clergy. For example, a "locum tenens physician" is a physician who works in the place of the regular physician. Other positions can be held as locum, particularly social workers, counselors, nurses and other professionals.


title: Locum

text: In the United Kingdom, the NHS on average has 3,500 locum doctors working in hospitals on any given day, with another 17,000 locum general practitioners.


title: Locum

text: On the other hand, GP locums (freelance general practitioners) mostly work independently from locum agencies either as self-employed or via freelance GP chambers based on the NASGP's Sessional GP Support Team (SGPST) model. Some GPs have been employed by the primary care trusts (PCTs) to provide locum cover. However, PCTs were abolished in 2013 and replaced by the clinical commissioning groups (CCGs).


title: Locum

text: Locums provide a ready means for organizations to fill positions that are temporarily vacant or for which no long-term funding is available. Working as a locum allows a professional to gain experience in a variety of work environments or specialties.


title: Locum

text: Some locum recruitment agencies offer pre-employment training to foreign medical graduates before their first professional experience in the primary care system.


title: Locum

text: However, the locum situation also poses a number of disadvantages such as the transient nature of the assignment means extra stress and work for locums whenever they assume a new position. For the hiring organisation, that generally means that the required flexibility and the lack of guaranteed income must be rewarded with higher compensation.


title: Locum

text: In professions that require knowledge of patient histories, locums may provide work of lower quality or be perceived as doing so. They may also experience resentment from permanent staff because they are paid more or considered to shoulder less responsibility.


title: Real-time tactics

text: Real-time tactics (RTT) is a subgenre of tactical wargames played in real-time simulating the considerations and circumstances of operational warfare and military tactics. It is differentiated from real-time strategy gameplay by the lack of classic resource micromanagement and base or unit building, as well as the greater importance of individual units and a focus on complex battlefield tactics.


title: Real-time tactics

text: Typical real-time strategy titles encourage the player to focus on logistics and production as much as or more than combat, whereas real-time tactics games commonly do not feature resource-gathering, production, base-building or economic management, instead focusing on tactical and operational aspects of warfare such as unit formations or the exploitation of terrain for tactical advantage. Real-time tactical gameplay is also characterized by the expectation of players to complete their tasks using only the combat forces provided to them, and usually by the provision of a realistic (or at least believable) representation of military tactics and operations.


title: Real-time tactics

text: This contrasts with other current strategy game genres. For instance, in large-scale turn-based strategy games battles are generally abstracted and the gameplay close to that of related board games. Real-time strategy games de-emphasize realism and focus on the collection and conversion of resources into production capacities which manufacture combat units thereafter used in generally highly stylized confrontations. In contrast, real-time tactics games' military tactical and realistic focus and comparatively short risk/reward cycle usually provide a distinctly more immediate, intense and accessible experience of battlefield tactics and mêlée than strategy games of other genres.


title: Real-time tactics

text: As suggested by the genre's name, also fundamental to real-time tactics is real-time gameplay. The genre has its roots in tactical and miniature wargaming, where battle scenarios are recreated using miniatures or even simple paper chits. These board and table-top games were out of necessity turn-based. Only with computer support was turn-based play and strategy successfully transposed into real-time. Turn-based strategy and turn-based tactics were obvious first candidates for computer implementation ; but as computer implementation eventually allowed for ever more complex rule sets, some games became less timeslice-focused and more continuous until eventually "real-time" play was achieved.


title: Real-time tactics

text: While some publications do refer to "RTT" as a distinct subgenre of real-time strategy or strategy, not all publications do so. Further, precise terminology is inconsistent. Nonetheless, efforts have been made to distinguish RTT games from RTSs. For instance, GameSpy described "Axis & Allies" (the 2004 video game) as a "true RTS", but with a high level of military realism with such features as battlefield command organization and supply lines. A developer for "Close Combat" said their game never aspired to be an RTS in the "classic sense", but was rather a "real time tactical simulation", lacking such features as resource collection. A developer of "" remarked on his game being called a "tactical fleet simulator" rather than a "traditional RTS", citing its focus on tactical gameplay and fixed units at the start of each mission.


title: Real-time tactics

text: In general terms, military strategy refers to the use of a broad arsenal of weapons including diplomatic, informational, military, and economic resources, whereas military tactics is more concerned with short-term goals such as winning an individual battle. In the context of strategy video games, however, the difference often comes down to the more limited criteria of either a presence or absence of base building and unit production.


title: Real-time tactics

text: Real-time strategy games have been criticized for an overabundance of tactical considerations when compared to the amount of strategic gameplay found in such games. According to Chris Taylor, lead designer of "Supreme Commander", "[My first attempt at visualizing RTSs in a fresh and interesting new way] was my realizing that although we call this genre 'Real-Time Strategy,' it should have been called 'Real-Time Tactics' with a dash of strategy thrown in." Taylor then went on to say that his own game featured added elements of a broader strategic level.


title: Real-time tactics

text: In an article for GameSpy, Mark Walker said that developers need to begin looking outside the genre for new ideas in order for strategy games to continue to be successful in the future.


title: Real-time tactics

text: In an article for Gamasutra, Nathan Toronto criticizes real-time strategy games for too often having only one valid means of victory—attrition—comparing them unfavorably to real-time tactics games. According to Toronto, players' awareness that their only way to win is militarily makes them unlikely to respond to gestures of diplomacy; the result being that the winner of a real-time strategy game is too often the best tactician rather than the best strategist. Troy Goodfellow counters this by saying that the problem is not that real-time strategy games are lacking in strategic elements (he calls attrition a form of strategy); rather, it is that they too often rely upon the "same" strategy: produce faster than you consume. He also says that building and managing armies is the conventional definition of real-time strategy, and that it is unfair to make comparisons with other genres when they break convention.


title: Real-time tactics

text: Wargaming with items or figurines representing soldiers or units for training or entertainment has been common for as long as organised conflicts. Chess, for example, is based on essentialised battlefield movements of medieval unit types and, beyond its entertainment value, is intended to instill in players a rudimentary sense of tactical considerations. Today, miniature wargaming, where players mount armies of miniature figurines to battle each other, has become popular (e.g., "Warhammer Fantasy Battle" and "Warhammer 40000"). Though similar to conventional modern board wargames (e.g. "Axis & Allies"), in the sense of simulating war and being turn-based, the rules for miniature wargames tend to lean heavily towards the minutiae of military combat rather than anything at a strategic scale.


title: Real-time tactics

text: Though popular as table-top games, tactical wargames were relatively late in coming to computers, largely due to game mechanics calling for large numbers of units and individual soldiers, as well as advanced rules that would have required hardware capacities and interface designs beyond the capabilities of older hardware and software. Since most established rule sets were for turn-based table-top games, the conceptual leap to translate these categories to real time was also a problem that needed to be overcome.


title: Real-time tactics

text: Avalon Hill's 1982 release "Legionaire" for the Atari 8-bit was a real-time wargame of Romans versus Barbarians with game play reminiscent of the current real-time tactics template, called by one review a "real-time simulation of tactical combat". Likewise, Free Fall Associates' 1983 title "Archon" can be considered an early real-time tactics game, built upon Chess but including real-time battle sequences. Archon was highly influential, and, for instance, Silicon Knights, Inc.'s 1994 game "Dark Legions" was virtually identical to it, adding only to "Archon"'s concept that the player, as in many table-top wargames, purchases his army before committing to battle. "Drakkhen" (1989) was noteworthy for combining the genre with RPG gameplay. "Drakkhen" allowed the player to micromanage four specialized fantasy units in a 3D battlefield during each random encounter. Another predecessor was Bits of Magic's "" (published for the PC by Electronic Arts in 1990), in which, similar to the recent "" game, the game took place on a strategic map interspersed by battle sequences. However, though the battles were in real-time they were of small scope and player interaction was limited to deciding the initial troop disposition. "Lords of the Realm", released in 1994 by Impressions Games, introduced real-time control of these real-time battles.


title: Real-time tactics

text: Around 1995, computer hardware and developer support systems had developed enough to facilitate the requirements of large-scale real-time tactical games. It was in 1995 that the regimentally focused wargame "" was released, groundbreaking not only in that it focused purely on the operational aspects of combat (with all aspects pertaining: regimental manoeuvring and formations, support tactics, terrain, etc.), nor only in that it was entirely real-time, but also that it introduced zoomable and rotatable 3D terrain. In 1997 Firaxis Games' released "Sid Meier's Gettysburg!", a detailed and faithful recreation of some of the most significant battles of the American Civil War that introduced large scale tactical battlefield command using 3D.


title: Real-time tactics

text: Released in 1996 by Atomic Games, the "Close Combat series" is a simulation of squad- and platoon-type World War II combat tactics which introduced a higher degree of operational realism than seen before. "Combat Mission" went even further in this regard. Further, as "Warhammer: Shadow of the Horned Rat" was a translation of the "Warhammer Fantasy Battle" table-top system, so was 1998's FASA Studios' "MechCommander" a translation of the "BattleTech" boardgame into a 2D computer game format.


title: Real-time tactics

text: In 1997, Bungie released "", which introduced radically larger battlefields than ever before and included a realistic (at the time) physics engine. In 2000, Creative Assembly created "", taking map sizes to even greater levels, as well as introducing historical and tactical realism until then unheard of in real-time computer games. "Ground Control" was also released in 2000, gaining much attention for its luscious visuals but earning developers Massive Entertainment few sales. In 2007, "World in Conflict" was also released by Massive Entertainment.


title: Real-time tactics

text: The 2000s (decade) saw a number of tactical simulations developed in Eastern Europe. Examples include real-time tactics titles such as those belonging to the "Blitzkrieg", "Sudden Strike" and "" (not to be confused with "" by MicroProse) series; as well as stand-alone titles like "", "Joint Task Force", and "".


title: Real-time tactics

text: Real-time tactics games with historical or contemporary settings generally try to recreate the tactical environment of their selected period, the most common eras and situations being the World War II, Napoleonic warfare or ancient warfare. Numerically they make up the bulk of the genre.


title: Real-time tactics

text: While the degree of realism is uniform, the scale of command and precise mechanics differ radically according to the period setting in keeping with the tactics of that period. So for instance, titles set in the Napoleonic Wars are often played at a company or battalion level, with players controlling groups of sometimes hundreds of soldiers as a single unit, whereas recreations of modern conflicts (such as the Iraq War) tend to offer control down to squad or even individual level.


title: Real-time tactics

text: While most "fantasy" titles bear some resemblance to a historical period (usually medieval), they also incorporate fictional creatures, areas, and/or magic, and are limited by few historical constraints.


title: Real-time tactics

text: Games set in the future and combining elements of science fiction obviously are not constrained by historical accuracy or even the limitations of current technology and physics. Developers thus have a freer hand in determining a game's backstory and setting. Games that are set in outer space can also add a third, vertical movement axis, thereby freeing up new tactical dimensions.


title: Beatrice Gomez

text: Beatrice Luigi Gallarde Gomez (; born February 23, 1995) is a Filipino model, community development worker, athlete, military sergeant, and beauty pageant titleholder who was crowned Miss Universe Philippines 2021. Making history as the first openly bisexual woman who was crowned Miss Universe Philippines, she represented the Philippines at the Miss Universe 2021 pageant in Eilat, Israel and finished as a Top 5 finalist.


title: Beatrice Gomez

text: Beatrice Luigi Gallarde Gomez was born on February 23, 1995 in San Fernando, Cebu, Philippines. She was raised by a single mother. She studied at the University of San Jose–Recoletos and pursued a degree in mass communication. At the same time, she also played varsity volleyball for the university. As a student-athlete, she was able to study under an athletic scholarship. In 2022, she graduated from the said university.


title: Beatrice Gomez

text: Gomez's foray into the world of pageantry began in 2015 when she placed second runner-up at the Miss Mandaue 2015 pageant.


title: Beatrice Gomez

text: Gomez represented San Fernando at the Binibining Cebu 2020 pageant and won the title, succeeding Steffi Rose Aberasturi of Mandaue City. She also won the Best in Swimwear, Miss Foton, and Miss Body Worx Medical Spa awards.


title: Beatrice Gomez

text: On September 1, 2021, representing Cebu City, Gomez was confirmed as one of the thirty delegates in the Miss Universe Philippines 2021 pageant.


title: Beatrice Gomez

text: During the finals on September 30, 2021, Gomez won the Best in Swimsuit, Best in Evening Gown, Miss Cream Silk, and Miss Luxxe ImmunPlus Game Changer awards. At the end of the event, Gomez was crowned by outgoing Miss Universe Philippines 2020 Rabiya Mateo as Miss Universe Philippines 2021.


title: Beatrice Gomez

text: Gomez made history as the first openly bisexual Miss Universe Philippines winner to compete in Miss Universe.


title: Beatrice Gomez

text: Gomez competed at the 70th Miss Universe pageant in Eilat, Israel on December 13, 2021, becoming the twelfth consecutive Philippine delegate to qualify to the Miss Universe semifinals. Gomez concluded her Miss Universe journey as a Top 5 finalist, becoming the first openly LGBT delegate to advance to the Miss Universe finals. Harnaaz Sandhu of India won the said pageant.


title: Beatrice Gomez

text: In January 2021, she completed the citizens military course training of the Philippine Army Reserve Command in Eastern Visayas which allowed her to be part of the Philippine Navy Reserve Unit, with the rank of corporal. In October 2021, Gomez was promoted to sergeant.


title: Beatrice Gomez

text: In May 2022, she was named as one of the honorary members, among the first batch, of the newly-launched "Friends of Marines", a civilian organization by the Philippine Marine Corps.


title: Beatrice Gomez

text: Gomez is one of the founders of BEyouthfulPH, an organization that extends assistance in uplifting the lives of disempowered and disadvantaged children in different parts of the Philippines. One of the organization's programs focuses on children in conflict with the law, guiding and inspiring them to become more proactive and law-abiding Filipino citizens.


title: Beatrice Gomez

text: In an interview, Gomez, who identifies as bisexual, also says she "hopes that younger LGBTQIA+ people would be free from bullying and violence:


title: Beatrice Gomez

text: "Just like what everyone hopes for in the LGBTQIA+, I aspire for acceptance and inclusivity — especially equal rights and protection for the younger generation who oftentimes suffer from bullying and different forms of violence. They are left to fend for themselves, particularly those that are oppressed by their own parents.""


title: Beatrice Gomez

text: Gomez is an openly bisexual woman. She was previously in a relationship with disc jockey and entrepreneur Kate Jagdon.


title: Beatrice Gomez

text: Gomez is first cousin to the late Rizzini Alexis Gomez, Miss Tourism International 2012–2013 and niece of former Philippine Basketball Association player Roel Gomez.


title: Why I Am an Atheist

text: Why I Am an Atheist is an essay written by Indian revolutionary Bhagat Singh in 1930 in Lahore Central Jail. The essay was a reply to his religious friends who thought Bhagat Singh became an atheist because of his vanity.


title: Why I Am an Atheist

text: Bhagat Singh was a member of Hindustan Socialist Republican Association, a revolutionary party in the Indian freedom struggle. He was an atheist who believed in socialism, and he wrote several articles on anarchism and socialism for "Kirti". He was arrested on 8 April 1929 in connection with the Central Legislative Assembly bombing case and was sentenced to 14 years life imprisonment. He was re-arrested in connection with the murder of John Saunders, a deputy superintendent of police who was killed by Sukhdev, Rajguru, and Bhagat Singh in 1928 in retaliation for the death of Lala Lajpat Rai. In that case, the trial began and he was transferred to Lahore jail. In the jail, on 4 October 1930, Baba Randhir Singh, a religious man and member of Ghadar Party who was convicted in the first Lahore conspiracy case, met Bhagat Singh and tried to incite his belief in God; however, Bhagat Singh did not change his stand. Thereafter, Randhir Singh said "You are giddy with fame and have developed an ego which is standing like a black curtain between you and the God". As a reply to Randhir Singh, he wrote this essay on 5 and 6 October 1930. On 7 October 1930, all three of the defendants were convicted in the murder of Saunders and sentenced to death. On 23 March 1931, they were executed by hanging in the Lahore jail (present-day Shadman Chowk or Bhagat Singh Chowk).


title: Why I Am an Atheist

text: After the death of Singh, the essay was published on 27 September 1931 in Lala Lajpat Rai's English weekly "The People".


title: Why I Am an Atheist

text: On the request of Periyar E. V. Ramasamy, P. Jeevanandham translated the essay to the Tamil language. The Tamil version of the essay was published in "Kudi Arasu" in 1935. According to Chaman Lal, "at one time after Partition, the English copy of this essay was not found anywhere. It was then re-translated from Tamil to English, and some websites still carry the re-translated English version of this essay".


title: Why I Am an Atheist

text: In the essay, Bhagat Singh states that his atheism was not a result of vanity. He mentions that his family were firm believers in God, that he himself grew up as a religious boy who would chant prayers for hours and goes on to explain how despite this he went on to become an atheist. He mentions that his atheism was also not a result of his association with a revolutionary organization and that most of his comrades were in fact theists, citing the example of Sachindra Nath Sanyal who was a firm believer in God. An excerpt from the essay reads:


title: Why I Am an Atheist

text: He mentions Mikhail Bakunin's manuscript, "God and the State" and "Common Sense" by Niralamba Swami to have inspired his own atheism.


title: Why I Am an Atheist

text: Continuing on the above question, he also asks, "I ask why your omnipotent God does not stop every man when he is committing any sin or offence? He can do it quite easily. Why did he not kill warlords or kill the fury of war in them and thus avoid the catastrophe hurled down on the head of humanity by the Great War? Why does he not just produce a certain sentiment in the mind of the British people to liberate India? Why does he not infuse the altruistic enthusiasm in the hearts of all capitalists to forego their rights of personal possessions of means of production and thus redeem the whole labouring community —nay, the whole human society, from the bondage of capitalism? You want to reason out the practicability of socialist theory; I leave it for your almighty to enforce it. People recognise the merits of socialism in as much as the general welfare is concerned. They oppose it under the pretext of its being impracticable. Let the Almighty step in and arrange everything in an orderly fashion."


title: Why I Am an Atheist

text: In the end, he also comments on the origin of God and thinks it is due to man's limitation, weakness and shortcoming to face trying circumstances. He differs on the origin of God from other radicals who attribute the origin of God to "the ingenuity of the exploiters who wanted to keep the people under their subjection by preaching the existence of a supreme being and then claiming an authority and sanction from him for their privileged positions."


title: Why I Am an Atheist

text: On the subject of origin of life and humanity, he comments, "This is a phenomenon of nature. The accidental mixture of different substances in the shape of nebulae produced this earth. When? Consult history. The same process produced animals and, in the long run, man. Read Darwin's "Origin of Species". And all the later progress is due to man's constant conflict with nature and his efforts to override it. This is the briefest possible explanation of the phenomenon."


title: Ford Aerostar

text: The Ford Aerostar is a range of vans that was manufactured by Ford from the 1986 to the 1997 model years. The first minivan produced by Ford, the model line was marketed against the Chevrolet Astro/GMC Safari and the first two generations of the Chrysler minivans. Introduced shortly before the Ford Taurus, the Aerostar derived its name from its slope-nosed "one-box" exterior (although over six feet tall, the body of the Aerostar retained a , besting the Lincoln Mark VII).


title: Ford Aerostar

text: The first minivan powered exclusively by V6 engines, the Aerostar was also one of the first vehicles to introduce all-wheel drive to the segment in North America. The model line was sold in multiple configurations, including passenger and cargo vans, along with an extended-length body. Sold primarily in the United States and Canada, a limited number of vehicles were exported outside of North America.


title: Ford Aerostar

text: The Aerostar was replaced for the 1995 model year by the front-wheel drive Ford Windstar; Ford sold both model lines concurrently through the 1997 model year. The role of the Aerostar cargo van was left unfilled, with the Ford Transit Connect serving as the closest successor (in terms of size and capability).


title: Ford Aerostar

text: For its entire production, the model line was assembled by the St. Louis Assembly Plant in Hazelwood, Missouri. In total, 2,029,577 vehicles were produced across a single generation.


title: Ford Aerostar

text: For Ford Motor Company, the development of the minivan began life in the early 1970s as a companion model to the third-generation Ford Econoline/Club Wagon, under development for the 1975 model year. As the full-size van was slated to grow in size, Ford explored the concept of a "garageable van", designed with a roofline to easily fit through a typical garage door opening. Additional objectives for the "garageable van" included increased interior space (over station wagons) and more desirable styling (over full-size vans). Dubbed the Ford Carousel, a prototype was tested from 1972 to 1974, using the 124-inch wheelbase chassis of the Club Wagon.


title: Ford Aerostar

text: To achieve its "garageable" status, the roofline of the Carousel was lowered approximately 12 inches in comparison to a standard-wheelbase Ford Club Wagon (placing its height close to that of the later Ford Windstar/Freestar). The Carousel also received a more steeply raked windshield, a new (longer) front fascia, and a wagon-style roofline (with wraparound window glass). In a key indication of its future as a family-oriented vehicle, the Carousel wore a rear tailgate with a drop-down rear window; like the LTD station wagon, it was fitted with simulated exterior woodgrain trim. The interior of the prototype was fitted two rear bench seats trimmed similar to the Ford Country Squire and Mercury Colony Park.


title: Ford Aerostar

text: While the prototype would receive a positive response by many Ford executives (for a potential 1976 introduction), the Carousel ultimately would not reach production (under any model name). At the time of its development, financial constraints forced the company to divert funds towards critical projects (such as the development of the Fox platform, Panther platform, and 1980 Ford F-Series). Along with it not replacing an existing Ford model line, the Carousel did not compete against an existing GM or Chrysler vehicle. Developed during the 1973 energy crisis, the Carousel was fitted with a 460 V8, shared with full-size Ford vehicles and one-ton Ford trucks.


title: Ford Aerostar

text: In 1978, Lee Iaccoca and Hal Sperlich both departed Ford and were hired by Chrysler. At the time, the company had worked on its own "garageable van" project for a year, leading to its approval for development for 1979. While Chrysler would adopt the basic concept of the Ford Carousel prototype (in terms of its height and seat configuration), the resulting 1984 Dodge Caravan and Plymouth Voyager would be far different vehicles from the Carousel in terms of layout and engineering.


title: Ford Aerostar

text: In 1974, Ford management ended development of the Carousel prototype; through the rest of the 1970s, the company continued to see potential in "garageable vans", pursuing further design and market research on the subject. By 1980, Ford committed to a smaller vehicle, partially as the American automotive industry learned of the development of the Chrysler minivans; following the 1979 gas crisis, the company felt a 1980s release of the Carousel (a rebodied E-Series) could be an uncompetitive decision.


title: Ford Aerostar

text: Along with potential fuel economy increases, in its marketplace research, Ford discovered a smaller all-new design could accommodate several design features desired in the marketplace.


title: Ford Aerostar

text: The new van project adopted a rear-wheel drive layout for two primary reasons. While the new van was to given a car-like ride (its 119-inch wheelbase largely placed the wheels at all four corners), another key objective for the design to tow 5000 pounds (matching the Ford Ranger, then also in design). To lower production and engineering costs, the rear-wheel drive configuration allowed shared mechanical components with multiple Ford light trucks. While Chrysler and GM small vans shared chassis commonality with other model lines (to varying degrees), the Ford small van received a model-distinct chassis (with model-specific front and rear suspension).


title: Ford Aerostar

text: The design of the Aerostar carried over two primary design features of the 1972 Carousel prototype, including its approximate 6-foot "garageable" height and long wheelbase; a large B-pillar also allowed for large window area. Beyond the drawing board, the design of the Aerostar progressed further by the introduction of two Ghia-designed 7-passenger concept vehicles, the 1982 Ford Aerovan and the 1984 Ford APV. Both derived from the Ford Escort, the Aerovan was a two-door wagon; the APV was a three-door MPV/van. While smaller than the American van project, the 1982 Ford Aerovan previewed the sloped-nose front fascia of both the Aerostar and the larger 1986 Ford Transit.


title: Ford Aerostar

text: While designed by its European-owned styling firm, the design of the Aerovan received a positive response from the public, leading Ford to progress with a highly advanced design for the exterior. Though the company would ultimately trail the Chrysler minivans by nearly two years in its introduction, Ford considered innovative design and features as a key selling point of the vehicle.


title: Ford Aerostar

text: To further live up to the first half of its name, the Aerostar adopted integrated plastic bumpers (also previewed by the Aerovan), in contrast to the attached metal bumpers of the E-series. To further improve fuel economy, Ford used multiple lightweight materials for the body, including plastic fuel tanks, liftgate doors, and hoods; aluminum was used for the driveshaft, axles, and wheels.


title: Ford Aerostar

text: In 1984, Ford debuted the Aerostar nameplate on a concept vehicle. Nearly identical to the production vehicle, the 1984 concept was styled with a two-slot grille and composite-lens headlamps; along with skirted rear fenders, the concept differed in detail changes related to the taillamps, windows, and door handles. Intended for an early 1986 model-year introduction (prior to the Taurus), the production Aerostar was intended to have a three-engine lineup, adopted from the Ranger/Bronco II. A 2.3L inline-4 was to be standard, along with a 2.8L V6; as a first for an American-produced minivan, a 2.3L turbodiesel inline-4 was to be offered as a second option.


title: Ford Aerostar

text: To officially launch the model line in the summer of 1985, Ford used the "Ford Aerostar Airlift", using eight Lockheed C-130 Hercules transport aircraft to simultaneously airlift Aerostars into eight cities across the United States. In total, the entire development of the model line would cost Ford over $300 million; though lower in cost than the development of the Chrysler minivans, the Ford Aerostar was developed at the same time as the Ford Taurus (costing Ford $3.5 billion)


title: Ford Aerostar

text: The Ford Aerostar (developed under Ford model code VN1, the first Ford chassis given an alphanumeric designation) uses a rear-wheel drive chassis configuration. Developed specifically for the model line, the chassis combines unibody chassis construction with full-length frame rails. While using unibody chassis construction to reduce weight, the hybrid frame design provided the Aerostar with a 5,000-pound tow rating ( times the Caravan/Voyager, and matching that of the Chevrolet Astro/GMC Safari. The design has been utilized by other widely-produced designs in the automotive industry, including the 1971-1996 Chevrolet Van and 1984-2001 Jeep Cherokee XJ.


title: Ford Aerostar

text: In a break from Ford light-truck precedent, the Aerostar did not use Twin I-Beam front suspension, instead using unequal-length A-arms and coil springs for the front suspension. The rear suspension was a coil-sprung live rear axle fitted with a three-link configuration (similar to the Ford Panther-platform chassis of the time, though not sharing commonality). During its production, the Aerostar was the only minivan sold in North America with coil springs at all four wheels. Through its production, the model line was fitted with front disc brakes and rear drum brakes.


title: Ford Aerostar

text: For its 1986 launch, the Aerostar was introduced with two engines shared with the Ranger/Bronco II. A 100 hp 2.3 L inline-4 (also shared with the Mustang) was standard with a 115 hp 2.8 L V6 (from Ford of Europe) offered as an option; as a running change during 1986, the 2.8 L engine was replaced by a 145 hp 3.0 L V6 (shared with the Ford Taurus/Mercury Sable). Initially intended as an option, the four-cylinder turbodiesel of the 1984 concept vehicle was dropped after prototype testing. For 1988, the 2.3 L engine was discontinued, with the 3.0 L V6 becoming the sole engine offering (with the Aerostar becoming the first minivan offering only V6 engines). For 1990, coinciding with the introduction of the E-4WD option, a 160 hp 4.0 L V6 was introduced; the engine was paired with the all-wheel drive system and was an option on higher-trim rear-wheel drive vehicles.


title: Ford Aerostar

text: Sharing its transmissions with the Ranger/Bronco II, the Aerostar was available with a five-speed manual until 1995 (nearly exclusively in cargo vans and XL trim); in contrast to Chrysler minivans, all automatic transmissions were 4-speed overdrive units. For 1997, a 5-speed overdrive automatic transmission was introduced for the 4.0 L V6 (a first in the minivan segment).


title: Ford Aerostar

text: During the 1990 model year, Ford introduced an all-wheel drive system for the Aerostar, called E-4WD (Electronic 4-Wheel Drive). Developed specifically for the model line, the E-4WD system was offered from 1990 to 1997 on XLT and Eddie Bauer trims. In contrast to the four-wheel drive systems in other Ford light trucks, E-4WD was not configured nor intended for off-road driving. While no low-range gearing was provided, the system provided increased traction in adverse weather conditions without driver input.


title: Ford Aerostar

text: The E-4WD system used a Dana TC28 transfer case with a center differential (regulated by an electronically controlled electro-magnetic clutch); all four wheels received traction at all times. To accommodate the added weight and friction losses, the system was paired with the higher-torque 4.0L V6 and automatic transmission.


title: Ford Aerostar

text: Following the 1997 discontinuation of the model line, Ford did not offer all-wheel drive as an option for North American-market vans until the 2020 Transit.


title: Ford Aerostar

text: Distinguished by its sloped-nosed design, the Ford Aerostar utilized a "one-box" design similar to the Ford Transit and Renault Espace; in contrast to its European counterparts, the long wheelbase of the Aerostar placed the wheels near the corners, minimizing body overhangs. In an effort to further improve its fuel efficiency and aerodynamics (and lower its curb weight), multiple plastic body parts from the 1984 concept car were adopted by the production vehicle, including the bumper covers, fuel tank, and rear hatch.


title: Ford Aerostar

text: For 1988, the exterior saw a minor detail change to exterior badging, relocating it from both fenders to the tailgate; it was also changed from chrome to silver in color. In another revision, the "V6" and "Electronic Fuel Injection" badges were deleted (as both features were now standard).


title: Ford Aerostar

text: As a response to the Dodge Grand Caravan and Plymouth Grand Voyager, Ford released an (unnamed) extended-length version of the Aerostar for the 1989 model year. Extending the rear body 14 inches in length, the option shared the 119-inch wheelbase with the standard-length body. During the 1990s, the extended-length Aerostar would become the most popular version of the vehicle.


title: Ford Aerostar

text: For 1989, the exterior was updated for the first time, with the chrome grille replaced by a black-trim grille; bracketed towing mirrors were replaced by power-operated mirrors.


title: Ford Aerostar

text: For 1992, the Aerostar received its second (and most substantial) exterior update. The grille was changed slightly in color from 1989-1991, with the Ford Blue Oval relocated from the center to the top slot of the grille (similar to the Ford Explorer); Ford replaced the sealed-beam headlights with replaceable-bulb composite units (and clear-lens turn-signal lenses). While remaining 14 inches in size, nearly all versions of the Aerostar received restyled wheels.


title: Ford Aerostar

text: In anticipation of withdrawing the model line after 1994, few changes were made to the Aerostar after 1992. To comply with federal regulations, the body received a center brake light for 1994. For 1997, the taillamps were revised for the first time (with the deletion of the amber turn signal lenses); XLT-trim vehicles received newly designed 14x6" seven-hole alloy wheels.


title: Ford Aerostar

text: In contrast to its contemporary one-box exterior design, the Ford Aerostar adopted many industry-standard features in its interior design. Sharing the same 2-2-3 seven-passenger layout of its Chrysler and GM competitors, XLT and Eddie Bauer-trim vehicles were offered with optional second-row bucket seats (a feature popularized from full-size conversion vans). Another option allowed both rear bench seats to fold down (making a bed); both rows of rear seats were removable.


title: Ford Aerostar

text: However, the interior also adopted several European-influenced design features. At its launch, the Aerostar used a floor-mounted shifter for both its manual and automatic transmissions; it was equipped with a handbrake (which remains a feature in all US-market Ford minivans). In a fashion similar to the Volkswagen Vanagon, the second-row windows slid open. While cupholders were relegated to an optional armrest in the third-row seats (and a later console on the engine cover); the vehicle could be specified with up to two cigarette lighters and six ashtrays.


title: Ford Aerostar

text: For 1992, the interior underwent a revision alongside the exterior. Coinciding with the addition of a driver-side airbag (and three-point seatbelts for all six outboard seats), the dashboard underwent a complete redesign. Both analog and digital instrument panels were replaced by more legible units; the controls were improved (many shared with the redesigned 1992 Econoline), introducing a column-shift automatic transmission. For 1993, integrated child safety seats were introduced as an option.


title: Ford Aerostar

text: Along with a cargo van (distinguished by its available double rear doors and lack of side windows), the Aerostar passenger van (called the Wagon) came in two trim levels: base-trim "XL" and deluxe-trim "XLT" (in keeping with the Ford truck line). Many features standard on the XLT were available as extra-cost options on the XL, such as power windows, mirrors, and locks, air conditioning, and privacy glass.


title: Ford Aerostar

text: Introduced during the 1988 model year, the Aerostar was one of the first Ford vehicles to feature the outdoors-themed Eddie Bauer brand as a trim package. Marketed above the XLT, the Aerostar Eddie Bauer was the first minivan marketed towards luxury buyers (for 1988, the Chrysler Town & Country was produced as a compact station wagon, not becoming a minivan until the 1990 model year).


title: Ford Aerostar

text: The Eddie Bauer trim combined the interior convenience features of the XLT trim with two-tone exterior paint (tan as the accent color on the rocker panels and wheel trim) and a tan outdoors-themed interior. As on the XLT, cloth seating surfaces were standard; as part of the 1992 update, leather seats became an option. A standard feature of the trim package (an option on the XLT) was a feature allowing the second and third row bench seats to fold flat into a large bed across the rear half of the interior. However, a large number of Eddie Bauer Aerostars were ordered with the optional second-row bucket seats/captain's chairs.


title: Ford Aerostar

text: Following the introduction of the extended-length wagon in 1989, the Eddie Bauer trim was available in both body configurations. After 1989, the option package came with the 4.0L V6 standard, though buyers could choose between rear-wheel drive and all-wheel drive powertrains.


title: Ford Aerostar

text: After the 1996 model year, the Eddie Bauer trim was discontinued as the Aerostar trim line was consolidated to the cargo van and the Aerostar XLT.


title: Ford Aerostar

text: In 1992, the Aerostar Sport was introduced as an option package available for any non-Eddie Bauer Aerostar Wagon. Similar to its Chevrolet Astro RS/GMC Safari CS and Dodge Caravan ES counterparts, the Aerostar Sport was largely a cosmetic upgrade. Distinguished by their silver-accented paint and "Sport" pinstriping, the Sport featured integrated running boards with a color-matched front air dam and color-matched rear mud flaps. On darker colors, the front grille and chrome was painted body color.


title: Ford Aerostar

text: The trim version of an Aerostar Sport is most easily identified by its wheels: XL Sport Wagons, with full wheel covers; XLT Sport Wagons (less common), with aluminum wheels.


title: Ford Aerostar

text: The Aerostar name was first revealed on a 1984 concept vehicle. Serving as a close preview of the production model line, the 1984 Ford Aerostar was one of the most aerodynamic vehicles designed by Ford (at the time); with a , the Aerostar was sleeker than the Ford Mustang SVO and the Lincoln Continental Mark VII.


title: Ford Aerostar

text: The front-engine configuration of the Aerostar was chosen for multiple reasons. In its research, Ford found that potential buyers preferred the configuration over rear and mid-engine vehicles (used by German/Japanese imported vans). The rear-wheel drive platform was engineered with class-leading payload and towing capacity over front-wheel drive minivans, with a 2000-pound payload and 5000-pound tow rating (2½ times the capacity of the Chrysler minivans).


title: Ford Aerostar

text: In the change from concept to production, very little of the exterior design would change, except for the window glass, headlights, and grille. In a notable change, the turbodiesel engine option (projected to provide up to 40mpg), was dropped from the engine lineup before production.


title: Ford Aerostar

text: Introduced at the 1987 Frankfurt Auto Show, the HFX (High Feature Experimental) Aerostar Ghia was a prototype of future minivan design. Two running prototypes were built from the collaboration of Ford and Ghia; both used the stock 3.0L Vulcan V6 and A4LD automatic transmission.


title: Ford Aerostar

text: The HFX concept borrowed some features used in other Ford vehicles, such as four-wheel air suspension and electronic climate control. From there, some of the technologies showcased in the HFX had never before been seen in a minivan; this included run-flat tires, adjustable pedals, power-sliding side doors, electric power steering, ABS, traction control, seatbelt pretensioners, and movable grille shutters. On the rear, an LCD display was installed for the use of displaying 12 pre-programmed warning messages.


title: Ford Aerostar

text: While the Ford Aerostar had proven successful in the minivan segment, by the end of the 1980s, Ford sought to gain a part of the significant market share held by the Chrysler minivans. In 1988, the company commenced design work on a successor to the Aerostar for a planned 1993 introduction. To compete more directly against Chrysler, in its new minivan, Ford adopted the form factor of the long-wheelbase Chrysler minivans. To further match Chrysler, what was to become the 1995 Ford Windstar adopted front-wheel drive sedan underpinnings, developed alongside the 1996 Ford Taurus.


title: Ford Aerostar

text: As the Ford Windstar was being readied for a 1995 model-year introduction, 1994 was set to be the final year for the Aerostar. In a fashion similar to the planned replacement of the Fox-platform Ford Mustang with a Mazda-based coupe in the late 1980s, Ford received a negative reaction from its dealers and the public. In response, Ford announced it would sell both the Aerostar and Windstar vans for the upcoming future.


title: Ford Aerostar

text: On March 17, 1997, Ford announced the discontinuation of the Ford Aerostar, alongside the Ford Aspire, Ford Probe, and Ford Thunderbird/Mercury Cougar. The final vehicle rolled off the St. Louis assembly line on August 22, 1997; a total of 2,029,577 were produced over 12 years. Alongside the production of the Ford Windstar, a primary factor leading to the cancellation of the Ford Aerostar was an impending requirement for the addition of dual airbags, which would have required a complete (and costly) redesign of the front dashboard and front crash structure.


title: Ford Aerostar

text: The Ford Windstar (and later Ford Freestar) was offered in a cargo van configuration, but the first direct successor to the Aerostar Van, in terms of size and capability, is the Ford Transit Connect. Imported into North America since 2010, the front-wheel drive Transit Connect is also offered in passenger configurations; a 2014 redesign led to the first seven-seat Ford minivan since 2007.


title: Freeboard (nautical)

text: is the distance from the waterline to the upper deck level, measured at the lowest point of sheer where water can enter the boat or ship. In commercial vessels, the latter criterion measured relative to the ship's load line, regardless of deck arrangements, is the mandated and regulated meaning.


title: Freeboard (nautical)

text: In yachts, a low freeboard is often found on racing boats, for increased speed (by reducing weight and therefore drag). A higher freeboard will give more room in the cabin, but will increase weight and drag, compromising speed. A higher freeboard, such as used on ocean liners, also helps weather waves and so reduce the likelihood of being washed over by full water waves. A low-freeboard vessel is susceptible to taking in water in rough seas. Freighter ships and warships use high freeboard designs to increase internal volume, which also allows them to satisfy International Maritime Organization (IMO) damage stability regulations, due to increased reserve buoyancy.


title: Battle of Quebec (1775)

text: The Battle of Quebec () was fought on December 31, 1775, between American Continental Army forces and the British defenders of Quebec City early in the American Revolutionary War. The battle was the first major defeat of the war for the Americans, and it came with heavy losses. General Richard Montgomery was killed, Benedict Arnold was wounded, and Daniel Morgan and more than 400 men were taken prisoner. The city's garrison, a motley assortment of regular troops and militia led by Quebec's provincial governor, General Guy Carleton, suffered a small number of casualties.


title: Battle of Quebec (1775)

text: Montgomery's army had captured Montreal on November 13, and early in December they became one force that was led by Arnold, whose men had made an arduous trek through the wilderness of northern New England. Governor Carleton had escaped from Montreal to Quebec, the Americans' next objective, and last-minute reinforcements arrived to bolster the city's limited defenses before the attacking force's arrival. Concerned that expiring enlistments would reduce his force, Montgomery made the end-of-year attack in a blinding snowstorm to conceal his army's movements. The plan was for separate forces led by Montgomery and Arnold to converge in the lower city before scaling the walls protecting the upper city. Montgomery's force turned back after he was killed by cannon fire early in the battle, but Arnold's force penetrated further into the lower city. Arnold was injured early in the attack, and Morgan led the assault in his place before he became trapped in the lower city and was forced to surrender. Arnold and the Americans maintained an ineffectual blockade of the city until spring, when British reinforcements arrived.


title: Battle of Quebec (1775)

text: Shortly after the American Revolutionary War broke out in April 1775, a small enterprising force led by Ethan Allen and Benedict Arnold captured the key Fort Ticonderoga on May 10. Arnold followed up the capture with a raid on Fort Saint-Jean not far from Montreal, alarming the British leadership there.


title: Battle of Quebec (1775)

text: These actions stimulated both British and rebel leaders to consider the possibility of an invasion of the Province of Quebec by the rebellious forces of the Second Continental Congress, and Quebec's governor, General Guy Carleton, began mobilizing the provincial defenses. The British forces in Canada consisted of three regiments, with the 8th Regiment holding various forts around the Great Lakes and the 7th and 26th regiments guarding the St. Lawrence river valley. Apart from these regiments, the only forces available to the Crown were about 15,000 men of the militia and the 8,500 or so warriors from the various Indian tribes in the northern district of the Department of Indian Affairs. The largely "Canadien" militia and many of the Indian tribes were regarded as lukewarm in their loyalty to the Crown.


title: Battle of Quebec (1775)

text: Both the Americans and the British misunderstood the nature of "Canadien" (as French Canadians were then known) society. The feudal nature of "Canadien" society with the "seigneurs" and the Catholic Church owning the land led the British to assume the "habitants" – as the tenant farmers who made up the vast majority of Quebec's population were known – would deferentially obey their social superiors while the Americans believed that the "habitants" would welcome them as liberators from their feudal society. In fact, the "habitants", despite being tenant farmers, tended to display many of the same traits displayed by the farmers in the 13 colonies who mostly owned their land, being described variously as individualistic, stubborn, and spirited together with a tendency to be rude and disrespectful of authority figures if their actions were seen as unjust. Most of the "habitants" wanted to be neutral in the struggle between Congress vs. the Crown, just wanting to live their lives in peace. Carleton's romanticized view of "Canadien" society led him to exaggerate the willingness of the "habitants" to obey the "seigneurs" as he failed to understand that the "habitants" would only fight for a cause that they saw as being in their own interests. A large number of the "Canadiens" still clung to the hope that one day Louis XVI would reclaim his kingdom's lost colony of New France, but until then, they wanted to be left alone.


title: Battle of Quebec (1775)

text: The memory of Pontiac's War in 1763 had made most of the Indians living in the Ohio River valley, the Great Lakes and the Mississippi River valley distrustful of all whites, and most of the Indians in the region had no desire to fight for either Congress or the Crown. Only the Haudenosaunee, or Iroquois, living in their homeland of Kaniekeh (modern upstate New York) were regarded as willing to fight for the Crown, and even then some of the Six Nations like the Oneida and the Tuscarora were already negotiating with the Americans. The Catholic Haudenosaunee living outside of Montreal—the so-called Seven Nations of Canada—were traditionally allies of the French and their loyalty to the British Crown was felt to be very shallow. Both Arnold and Allen argued to Congress that the British forces holding Canada were weak, that the "Canadiens" would welcome the Americans as liberators and an invasion would require only 2, 000 men. Taking Canada would eliminate any possibility of the British using it as a base to invade New England and New York.


title: Battle of Quebec (1775)

text: After first rejecting the idea of an attack on Quebec, the Congress authorized the Continental Army's commander of its Northern Department, Major General Philip Schuyler, to invade the province if he felt it necessary. On 27 June 1775 approval for an invasion of Canada was given to Schuyler. As part of an American propaganda offensive, letters from Congress and the New York Provincial Assembly were circulated throughout the province, promising liberation from their oppressive government. Benedict Arnold, passed over for command of the expedition, convinced General George Washington to authorize a second expedition through the wilderness of what is now the state of Maine directly to Quebec City, capital of the province. The plan approved by Congress called for a two-pronged attack with 3,000 men under Schuyler going via Lake Champlain and the Richelieu River valley to take Montreal while 1,050 men under Arnold would march up the Kennebec River valley, over the Height of Land and then down the Chaudière River valley to take Quebec City.


title: Battle of Quebec (1775)

text: The Continental Army began moving into Quebec in September 1775. Richard Montgomery, heading the American vanguard took Ile-aux-Noix on 2 September 1775. Its goal, as stated in a proclamation by General Schuyler, was to "drive away, if possible, the troops of Great Britain" that "under the orders of a despotic ministry ... aim to subject their fellow-citizens and brethren to the yoke of a hard slavery." On 16 September 1775, the sickly Schuyler handed over the command of his army to Montgomery. Brigadier General Richard Montgomery led the force from Ticonderoga and Crown Point up Lake Champlain, successfully besieging Fort St. Jean, and capturing Montreal on November 13. Arnold led a force of 1,100 men from Cambridge, Massachusetts on the expedition through Maine towards Quebec shortly after Montgomery's departure from Ticonderoga.


title: Battle of Quebec (1775)

text: One significant expectation of the American advance into Quebec was that the large French Catholic "Canadien" population of the province and city would rise against British rule. Since the British took control of the province, during the French and Indian War in 1760, there had been difficulties and disagreements between the local French Catholics and the Protestant English-speaking British military and civilian administrations. However, these tensions had been eased by the passage of the Quebec Act of 1774, which restored land and many civil rights to the "Canadiens" (an act which had been condemned by the thirteen rebelling colonies). The English-speaking "Old Subjects" living in Montreal and Quebec City (in contrast to the French-speaking "New Subjects") came mostly from Scotland or the 13 colonies, and they tried to dominate the Quebec colony both politically and economically, clashing with the long-established "Canadien" elite. James Murray, the first Governor of Quebec, had described the "Old Subject" businessmen who arrived in his colony as "adventurers of mean education...with their fortunes to make and little Sollicitous about the means". Carleton for his part felt the complaints by the "Canadiens" about the "Old Subjects" as greedy and unscrupulous businessmen were largely merited. As a member of Ireland's Protestant Ascendancy, Carleton found much to admire in Quebec which reminded him of his native Ireland, as both places were rural, deeply conservative Catholic societies. The majority of Quebec's French inhabitants chose not to play an active role in the American campaign, in large part because, encouraged by their clergy, they had come to accept British rule with its backing of the Catholic Church and preservation of French culture.


title: Battle of Quebec (1775)

text: Many of the "Old Subjects" saw the Quebec Act as a betrayal by the Crown as it granted equality to the "Canadiens", most notably by allowing Roman Catholic men to vote and hold office, which ended the hopes of the "Old Subjects" to dominate Quebec politically. Ironically, many of the English-speaking and Protestant "Old Subjects" were the ones who served as "fifth column" for the Americans rather than the French-speaking Roman Catholic "New Subjects" as the many "Old Subject" businessmen had decided that an American victory was their best hope of establishing Anglo-Protestant supremacy in Quebec. Prominent "Old Subject" businessmen such as Thomas Walker, James Price, William Heywood and Joseph Bindon in Montreal together with John McCord, Zachary Macaulay, Edward Antill, John Dyer Mercier and Udnay Hay in Quebec City all worked for an American victory by providing intelligence and later money for the Continental Army. Much of the American assessment that Canada could be easily taken was based on letters from "Old Subject" businessmen asking for the Americans to liberate them from the rule of the Crown which had given the "Canadiens" equality, and somewhat contradictorily also claiming that the "Canadiens" would rise up against the British if the Americans entered Quebec.


title: Battle of Quebec (1775)

text: General Carleton had begun preparing the province's defenses immediately on learning of Arnold's raid on St. Jean. On 9 June 1775 Carleton proclaimed martial law and called out the militia. At Montreal, Carleton found that there were six hundred men of the 7th Foot Regiment fit for duty, but he complained that there were no warships on the St. Lawrence, the forts around Montreal in a state of disrepair and though the "seigneury" and the Catholic Church were loyal to the Crown, most of the "habitants" appeared indifferent. Although Carleton concentrated most of his modest force at Fort St. Jean, he left small garrisons of British regular army troops at Montreal and Quebec. To provide more manpower, Carleton raised the Royal Highland Emigrants Regiment, whom he recruited from the Scottish Highland immigrants in Quebec. The commander of the Royal Highland Emigrants, Allan Maclean, was a Highlander who had fought for the Jacobites in the rebellion of 1745, and turned out to be Carleton's most aggressive subordinate in the campaign of 1775–76. On 26 July 1775, Carleton met Guy Johnson, the superintendent of the northern district of the Indian Department together with an Indian Department official, Daniel Claus, and a Mohawk war chief Joseph Brant. Johnson, Claus and Brant had brought with them some 1, 600 warriors whom they proposed to lead into a raid into New England, arguing that this was the best way of keeping the Americans engaged and out of Canada. Carleton declined the offer and ordered most of the Indians home, saying he did not want the Indians involved in this war, whom he regarded as savages who he believed would commit all sorts of atrocities against the white population of New England. Despite his dislike of Indians, whom he considered to be undisciplined and prone to brutality, Carleton employed at least 50 Indians as scouts to monitor the American forces as no one else could operate in the wilderness as scouts as well as the Indians.


title: Battle of Quebec (1775)

text: Carleton followed the American invasion's progress, occasionally receiving intercepted communications between Montgomery and Arnold. Lieutenant Governor Hector Cramahé, in charge of Quebec's defenses while Carleton was in Montreal, organized a militia force of several hundred to defend the town in September. He pessimistically thought they were "not much to be depended on", estimating that only half were reliable. Cramahé also made numerous requests for military reinforcements to the military leadership in Boston, but each of these came to nought. Several troop ships were blown off course and ended up in New York, and Vice Admiral Samuel Graves, the commander of the fleet in Boston, refused to release ships to transport troops from there to Quebec because the approaching winter would close the Saint Lawrence River. On 25 September 1775 an attempt by Ethan Allen to take Montreal in a surprise attack as the American sympathizer and prominent merchant Thomas Walker had promised he would open the city's gates was foiled. A mixed force of 34 men from the 26th Foot regiment, 120 "Canadien" volunteers and 80 "Old Subject" volunteers, 20 Indian Department employees and six Indians under the command of Major John Campbell stopped Allen's force on the outskirts of Montreal, killing 5 of the Americans and capturing 36. The victory caused 1, 200 "Canadiens" to finally respond to the militia summons, but Carleton, knowing only a large American force had entered Canada, chose to stay on the defensive under the grounds he was probably outnumbered. On 5 October, Carleton ordered Walker arrested on charges of high treason, which led to a shoot-out that left two soldiers wounded, Walker's house burned down, and Walker captured. On 15 October 1775, heavy guns arrived from Fort Ticonderoga, which finally allowed the American besiegers to start inflicting damage on Fort St. Jean and on 18 October, the fort at Chambly fell to the Americans.


title: Battle of Quebec (1775)

text: The attempts of the Americans to recruit "Canadiens" (French-Canadians) for their cause were generally unsuccessful with Jeremy Duggan, an "Old Subject" Quebec City barber who had joined the Americans only recruiting 40 "Canadiens". The Roman Catholic clergy preached loyalty to the Crown, but the unwillingness of Carleton to take the offensive persuaded many "Canadiens" that the British cause was a lost one. Given the American numerical superiority, Carleton had decided to stay on the defensive, a decision which however justified under military grounds, proved to be politically damaging. On 2 November 1775, Montgomery took Fort St. Jean, which the Americans had been besieging since September, causing Carleton to decide to pull back to Quebec City, which he knew that Arnold was also approaching. On 11 November, the British pulled out of Montreal and on 13 November 1775, the Americans took Montreal. Like Carleton, Montgomery was an Irishman, and both generals had a certain understanding and respect for "Canadien" society, which was in many ways similar to Irish society, going out of their way to be tactful and polite in their dealings with "Canadiens". Montgomery insisted that his men display "brotherly affection" for the "Canadiens" at all times. However, the man that Montgomery placed in charge of Montreal, Brigadier General David Wooster, together with the newly freed Thomas Walker who served as Wooster's chief political adviser, displayed bigoted anti-Catholic and anti-French views, with Wooster shutting down all the "Mass houses" as he called Catholic churches just before Christmas Eve, a move that deeply offended the "Canadiens". The arbitrary and high-handed behavior of Wooster and Walker in Montreal together with their anti-Catholicism undercut their claims to be promoting "liberty" and did much to turn "Canadien" opinion against their self-proclaimed "liberators".


title: Battle of Quebec (1775)

text: When definitive word reached Quebec on November 3 that Arnold's march had succeeded and that he was approaching the city, Cramahé began tightening the guard and had all boats removed from the south shore of the Saint Lawrence. Word of Arnold's approach resulted in further militia enlistments, increasing the ranks to 1,200 or more. Two ships arrived on November 3, followed by a third the next day, carrying militia volunteers from St. John's Island and Newfoundland that added about 120 men to the defense. A small convoy under the command of the frigate also arrived that day, from which a number of marines were added to the town's defenses.


title: Battle of Quebec (1775)

text: On November 10, Lieutenant Colonel Allen Maclean, who had been involved in an attempt to lift the siege at St. Jean, arrived with 200 men of his Royal Highland Emigrants. They had intercepted communications from Arnold to Montgomery near Trois-Rivières, and hurried to Quebec to help with its defense. The arrival of this experienced force boosted the morale of the town militia, and Maclean immediately took charge of the defenses.


title: Battle of Quebec (1775)

text: In the wake of the fall of Fort St. Jean, Carleton abandoned Montreal and returned to Quebec City by ship, narrowly escaping capture. Upon his arrival on November 19, he immediately took command. Three days later, he issued a proclamation that any able-bodied man in the town who did not take up arms would be assumed to be a rebel or a spy, and would be treated as such. Men not taking up arms were given four days to leave. As a result, about 500 inhabitants (including 200 British and 300 Canadians) joined the defense.