text:
The essays that comprise _Against Labor_ cover a period that stretches from the late 1880s to the Clinton era. Elizabeth Esch and David Roediger explore the racist assumptions that were built into so-called “scientific management.” The men with the stopwatches who broke production down into ever smaller tasks had ethnic preferences for each: Lithuanians for grinding steel, “American Poles” for forging, never Mexicans for the night shift and so on. A happy (for management) side effect of this speed up was the simmering resentment between different nationalities that hindered workplace solidarity.

Chad Pearson shines a light on Progressive-era worker organizations that were created and propped up by employers to help workers resist “union monopolies.” In other words, they created unions for scabs to break strikes and open up closed union shops.

Robert H. Woodrum looks at the use of the Ku Klux Klan and employer-sponsored vigilantism to run union organizers out of the Alabama docks and reverse the modest gains southern workers made during World War I. Michael Dennis updates the southern picture by documenting the UFCW’s sustained, large-scale organizing drive in non-union Virginia supermarkets in the early 1990s. Already facing enormous competitive pressure from Walmart, the supermarkets dug in for a years-long fight with little concern for the law. The story is a perfectly concise example of just how broken the National Labor Relations Board (NLRB) was as a venue for protecting workers by the time Bill Clinton took office.

None of these stories are particularly earth-shattering revelations to people who study unions and union-busting. What’s most notable is how employer tactics get recycled and adapted from era to era, and that no era was free from union-busting. That’s a key point of _Against Labor_. Editors Feurer and Pearson place their collection squarely within the new body of scholarship on the “rise of the right.”

Contrary to a popular narrative that has an activist right wing resurging in the years between Nixon’s 1968 election and Reagan’s firing of the air traffic controllers in 1981, the modern right wing began rising in reaction to the New Deal. Many employers simply never accepted the legitimacy of state intervention on behalf of union rights that was enshrined in the original National Labor Relations Act. These employers — mostly small and mid-sized firms — acted as an advance guard against union rights.

They pressed against the edges of the law, testing their ability to fire union activists for cause, replace strikers, lockout recalcitrant unions and restrict organizers’ access to the job site. They learned to love making the NLRB go to court to enforce orders against bosses’ union busting, for in the courts they found far more sympathetic arbiters of management’s rights. The biggest holes in labor law’s protections of workers rights, exploited in the anti-union drives of the 1980s, mostly come from bad court decisions in the postwar years that some people like to kid themselves were a golden age of labor-management cooperation.

Sure, there were employers who talked a good game about their (junior) “partners” in labor, kept their pensions and healthcare plans funded and mostly avoided knock-down, drag-out contract fights. But, clearly in retrospect, they were ready to beat down and bust their own unions just as soon as the advance guard of reactionaries created a political environment where it was possible.

The most fascinating story in the collection, “The Strange Career of A.A. Ahner: Reconsidering Blackjacks and Briefcases,” comes from Feurer. It tells of a hired gun whose career bridged two very different eras of labor-management relations in the Kansas City area. Scholars have referred to the advent of the NLRB as a kind of transition from blackjacks to briefcases for anti-union employers. It’s commonly assumed that the Pinkertons, thugs and company “unions,” employers’ first line of defense against unions in the 1920s, were muscled out of the way by a new generation of lawyers who promised to “work the system” to represent their clients’ interests at the NLRB. But in Ahner we find a direct, lineal connection between the two approaches.

Ahner ran his own detective agency beginning during World War I. For the right price, he would spy on workers, plant bombs and frame union activists (he had lots of friends in law enforcement at a time when there weren’t terribly rigid boundaries between local business and police). This work continued into the 1930s, when he was investigated by a Senate committee probing how employers were violating the new labor act.

Recognizing that times had changed, Ahner improved his image, if not his underlying philosophy. Working with a local priest, he became co-chair of the St. Louis Labor-Management Committee, which counseled conciliation and arbitration. Through this “volunteer” work, he lined up consulting gigs with unionized employers. Mostly this was for bargaining and grievances, where union representatives who knew his history would be aghast to find him sitting across the table with an air of respectability. But occasionally — even in the 1950’s — he was called on for union avoidance work, where he pressed the limits of employers’ rights to their own free speech _and_ to squelch their workers’.

Ahner’s story enriches our understanding of the real roots of today’s anti-unionism. One wishes Rosemary Feurer had expanded her research on Ahner and others like him and made that the subject of her book.

It also serves as a warning that today’s union-buster will claim to have “always” had a “productive working relationship” with unions when we begin to win again. But the only “always” that applies to American capitalists is that they are always against labor.

question: What was the scientific management of production?

answer: It was a process whereby production engineers sought to make the production run more efficiently through task specialization and conveyors.

question: What was the source of the resentment between ethnic groups in the workplace?

answer: The production engineers had ethnic preferences for the various jobs in the production environment.

question: Why did employers want workers to resist unions?

answer: Unions allow the small man to have a big voice when it comes to wages and conditions of employment. They do this by organizing workers so that the workers can withhold labor if they are dissatisfied with the conditions of employment. The strength of the Union depends on the number of members.

question: Why would employers want to open up closed union shops?

answer: Closed Union shops ensure that all employees are part of the Union. This gives the union extraordinary strength.

question: Is the National Labor Relations Board effective in its aim of protecting the rights of the workers?

answer: No it isn't at all effective, as was demonstrated by the retail industry which members of whom dug in their heels over an extended strike and took little heed of the law.

question: Why did the employers push the unions to take matters to court?

answer: The courts tended to favor the employers in their decision-making.


split: train

text:
NICHOLAS HAGGER (born 1939, London) is a British poet, writer, cultural historian, and philosopher, and a major proponent of philosophical Universalism.[1]

Hagger was educated at Oaklands School in Loughton, Essex and at Chigwell School, Essex, where he read Classics. He attended Worcester College, Oxford, where he read English Literature under Christopher Ricks.[2]

He was Lecturer at the University of Baghdad, Iraq, from 1961 to 1962; held various lecturing posts at the University of Tokyo (1964 to 1965), Tokyo University of Education (now University of Tsukuba) and Keio University, a combined post (1963 to 1967), where he was also Visiting Foreign Professor; and was a Lecturer at the University of Libya, Tripoli from 1968 to 1970.[3][4][5] He was also Tutor to Emperor Hirohito’s second son, Masahito, Prince Hitachi from 1964 until 1967.[6] He wrote for The Times and taught in London. Hagger acquired four schools and set up the Oak-Tree Group of Schools.[7] He bought Otley Hall in Otley, Suffolk and for seven years ran it as a historic house.

Hagger is the author of 50 books, including 2,000 poems and 1,200 short stories.[8] Hagger's philosophical Universalism seeks to reflect the universe as a whole in seven disciplines. His books present the fundamental theme of all world literature (_A New Philosophy of Literature_), history (_The Rise and Fall of Civilizations_), philosophy (_The New Philosophy of Universalism_, which also covers the sciences), mysticism and religion (_The Light of Civilization_), international politics and statecraft (_World State and World Constitution_) and world culture (_The Secret American Destiny_).

He lives in Essex and now devotes the greater part of his life to writing. In November 2016 Hagger was awarded the Gusi Peace Prize for Literature.[9] In 2019, he also received the Golden Phoenix medal of the Russian Ecological Foundation.[10] He is on the Board of Advisors of the recently established Galileo Commission, which seeks to expand the scope of science.[11]

The University of Essex has Hagger's archive of literary works (manuscripts and papers) on permanent deposit as a Special Collection in the Albert Sloman Library.[12]

Publications

-   Scargill the Stalinist?, The Communist Role in the 1984 Miners’ Strike (1984)
-   Selected Poems: A Metaphysical’s Way of Fire (1991)
-   The Fire and the Stones: A Grand Unified Theory of World History and Religion (1991)
-   The Universe and the Light: A New View of the Universe and Reality (1993)
-   A Mystic Way: A Spiritual Autobiography (1994)
-   Awakening to the Light: Diaries, Volume 1, 1958–1967 (1994)
-   Collected Poems: A White Radiance, 1958–1993 (1994)
-   A Smell of Leaves and Summer: Collected Stories, Volume 2 (1995)
-   A Spade Fresh with Mud, Collected Stories, Volume 1 (1995)
-   Overlord: The Triumph of Light, 1944–45, Books 1-2 (1995)
-   Overlord: The Triumph of Light, 1944–45, Books 3-6 (1995)
-   The Warlords: From D-Day to Berlin, Parts 1 and 2 (1995)
-   Overlord: The Triumph of Light, 1944–45, Books 7-9 (1997)
-   Overlord: The Triumph of Light, 1944–45, Books 10-12 (1997)
-   The One and the Many: Universalism and the Vision of Unity (1999)
-   The Tragedy of Prince Tudor: A Nightmare (1999)
-   Wheeling Bats and a Harvest Moon: Collected Stories, Volume 3 (1999)
-   The Warm Glow of the Monastery Courtyard: Collected Stories, Volume 4 (1999)
-   The Syndicate: The Story of the Coming World Government (2004)
-   The Secret History of the West: The Influence of Secret Organisations on Western History from the Renaissance to the 20th Century (2005)
-   Classical Odes, 1958–2005 (2006)
-   Collected Poems, 1958–2005 (2006)
-   Overlord: The Triumph of Light, 1944–1945 (2006)
-   The Light of Civilization: How the Vision of God has Inspired All the Great Civilizations (2006)
-   Collected Stories: A Thousand and One Mini-Stories or Verbal Paintings (2007)
-   Collected Verse Plays (2007)
-   The Secret Founding of America: The Real Story of Freemasons, Puritans and the Battle for the New World (2007)
-   The Last Tourist in Iran, From Persepolis to Nuclear Natanz (2008)
-   The Rise and Fall of Civilizations: Why Civilizations Rise and Fall and What Happens When They End (2008)
-   The Libyan Revolution: Its Origins and Legacy, A Memoir and Assessment (2009)
-   The New Philosophy of Universalism: The Infinite and the Law of Order (2009)
-   Armageddon: The Triumph of Universal Order, An Epic Poem on the War on Terror and of Holy-War Crusaders (2010)
-   The World Government: A Blueprint for a Universal World State (2010)
-   The Secret American Dream: The Creation of a New World Order with the Power to Abolish War, Poverty, and Disease (2011)
-   A New Philosophy of Literature: The Fundamental Theme and Unity of World Literature (2012)
-   A View of Epping Forest (2012)[13]
-   My Double Life 1: This Dark Wood (2015)[14][15]
-   My Double Life 2: A Rainbow over the Hills (2015)
-   Selected Poems: Quest for the One (2015)
-   Selected Stories: Follies and Vices of the Modern Elizabethan Age (2015)
-   The Dream of Europa: The Triumph of Peace (2015)
-   Life Cycle and Other New Poems 2006–2016 (2016)
-   The First Dazzling Chill of Winter (2016)
-   The Secret American Destiny (2016)
-   The Secret Founding of America, re-issued (2016)
-   Peace for our Time: A Reflection on War and Peace and a Third World War (2018)
-   World State: Introduction to the United Federation of the World, How a democratically-elected World Government can replace the UN and bring peace (2018)
-   World Constitution: Constitution for the United Federation of the World (2018)
-   King Charles the Wise (2018)[16]
-   Visions of England (2019)[17]
-   Fools’ Paradise (2020)[18]

[1]

[2] See http://www.nicholashagger.co.uk/biography

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11] Science beyond a materialist world view: Towards a post-materialist science by Harald Walach on behalf of the Scientific and Medical Network Galileo Commission - London September 2018 (report), p. 62.

[12] http://libwww.essex.ac.uk/speccol.htm and http://libwww.essex.ac.uk/Archives/Nicholas_Hagger/Hagger.html.

[13]

[14]

[15] https://explore.scimednet.org/wp-content/uploads/2016/05/BookReviews.pdf

[16] https://www.johnhuntpublishing.com/o-books/our-books/king-charles-wise

[17] https://www.johnhuntpublishing.com/o-books/our-books/visions-of-england

[18] https://www.nicholashagger.co.uk/fools-paradise

title: Nicholas Hagger

question: When was Hagger born?

answer: 1939

question: Where does Hagger live?

answer: Essex

question: How much has Hagger written?

answer: 50 books, including 2,000 poems and 1,200 short stories

question: What award did Hagger receive in 2016?

answer: The Gusi Peace Prize for Literature

question: Write a ~3 sentence summary.

answer: Nicholas Hagger is a prolific British author. He was born in 1939 and has held lecturing posts at numerous universities around the world. He is the author of 50 books, and he currently lives in Essex, devoting most of his time to writing.


text:
Mirnoye}} MIRNOYE () is a rural locality (a hamlet)[1] in Turukhansky District in Krasnoyarsk Krai, Russia.[2] This small human settlement is a part of Turukhansky Municipal District.[3] Mirnoye is located approximately to the south of Bakhta village, located also on the right bank of the Yenisei River.

This place, whose name means 'peaceful' in the Russian language, is mentioned in the literary works of Russian writer Mikhail Tarkovsky and in the novel _The Woman Who Waited_ by Andreï Makine.[4]

Arctic research station

The Yenisei Ecological Station, an Arctic research station, is located in the area of Mirnoye.[5]

  ---------------------------------------------------------
  [Location of the major research stations in the Arctic]
  ---------------------------------------------------------

[1]

[2] Law #10-4765

[3]

[4]

[5] Сайт Лаборатории популяционной экологии ИПЭЭ РАН - Енисейская экологическая станция “Мирное”

title: Mirnoye (Turukhansky District)

question: What function does Mirnoye serve?

answer: There's an Arctic research station, the Yenisei Ecological Station, and also a small human settlement.

question: Where is Mirnoye?

answer: Mirnoye is a hamlet in Turukhansky District in Krasnoyarsk Krai, Russia. It's located to the south of the Bakhta village on the right bank of the Yenisei River.

question: What does "Mirnoye" mean in Russian?

answer: It means "peaceful" in Russian.

question: Who are the popularizers of Mirnoye?

answer: Mirnoye is mentioned in Mikhail Tarkovsky's writings and Andrei Makine's The Woman Who Waited.

question: Write a ~4 sentence summary.

answer: Mirnoye is a hamlet in Turukhansky District in Krasnoyarsk Krai, Russia. It's located to the south of the Bakhta village on the right bank of the Yenisei River. Its name means "peaceful" in Russian, and Mirnoye is mentioned in Mikhail Tarkovsky's writings and Andrei Makine's The Woman Who Waited. The Yenisei Ecological Station, an Arctic research station, is located there.


text:
“ALL THINGS MUST PASS” is a song by English musician George Harrison, issued in November 1970 as the title track to his triple album of the same name. Billy Preston released the song originally – as “ALL THINGS (MUST) PASS” – on his Apple Records album _Encouraging Words_ (1970), after the Beatles had rejected it for inclusion on their _Let It Be_ album in January 1969. The composition reflects the influence of the Band's sound and communal music-making on Harrison, after he had spent time with the group in Woodstock, New York, in late 1968, while Timothy Leary's poem “All Things Pass”, a psychedelic adaptation of the _Tao Te Ching_, provided inspiration for his song lyrics.

The subject matter deals with the transient nature of human existence, and in Harrison's _All Things Must Pass_ reading, words and music combine to reflect impressions of optimism against fatalism. On release, together with Barry Feinstein's album cover image, commentators viewed the song as a statement on the Beatles' break-up. Widely regarded as one of Harrison's finest compositions, its rejection by his former band has provoked comment from biographers and reviewers. Music critic Ian MacDonald described “All Things Must Pass” as “the wisest song never recorded by The Beatles”,[1] while author Simon Leng considers it “perhaps the greatest solo Beatle composition”.[2] The recording was co-produced by Phil Spector in London; it features an orchestral arrangement by John Barham and contributions from musicians such as Ringo Starr, Pete Drake, Bobby Whitlock, Eric Clapton and Klaus Voormann.

Although the Beatles failed to formally record the song, a 1969 solo demo by Harrison appears on their compilation _Anthology 3_ (1996). An early version from the _All Things Must Pass_ sessions was released on Harrison's posthumous compilation _Early Takes: Volume 1_ in 2012. Paul McCartney performed “All Things Must Pass” at the Concert for George tribute in November 2002, a year after Harrison's death. Jim James, the Waterboys, Klaus Voormann and Yusuf Islam, and Sloan Wainwright are among the other artists who have covered the song.

Background

[The Band in Woodstock in 1969, with Levon Helm (_centre_) and Robbie Robertson (_second from right_)] Like his friend Eric Clapton, George Harrison was inspired by _Music from Big Pink_, the seminal debut album[3] from the Band, the former backing group for Bob Dylan.[4][5] Released in July 1968, _Music from Big Pink_ was partly responsible for Harrison's return to the guitar, his first instrument,[6] after he had spent two years attempting to master the more complex Indian sitar.[7][8] Harrison duly shared his enthusiasm with the British music press, declaring _Big Pink_ “_the_ new sound to come from America”, drummer Levon Helm later recalled, thus helping to establish the Band internationally.[9] In appreciation, Robbie Robertson, the Band's guitarist, extended an invitation to Harrison to stop by in Woodstock, New York, when the opportunity arose.[10]

Late in 1968, after producing sessions in Los Angeles for a solo album by Apple Records signing Jackie Lomax,[11] Harrison spent Thanksgiving and much of December in upstate New York,[12] where he renewed his friendship with a now semi-retired Dylan and took part in informal jam sessions with the Band.[13][14] According to Helm, they discussed making a possible “fireside jam” album with Clapton and an Apple Films “rock western” called _Zachariah_, but neither project progressed beyond the planning stage.[15] The bucolic surroundings proved fruitful for Harrison as a songwriter, producing his first collaboration with Dylan, “I'd Have You Anytime”,[16] and leading him to write “All Things Must Pass”.[17][18] He later described the latter song as a “Robbie Robertson–Band type of tune”,[19] and said that he always imagined it being sung by Helm.[20]

Composition

While discussing “All Things Must Pass” with music journalist Timothy White in 1987, Harrison recalled that his “starting point” for the composition was Robertson's “The Weight” – a song that had “a religious _and_ a country feeling to it”.[21]Timothy White, “George Harrison – Reconsidered”, _Musician_, November 1987, p. 62. Musically, the verses of “All Things Must Pass” are set to a logical climb within the key of E;[22] the brief choruses form a departure from this, with their inclusion of a B minor chord rather than the more expected major voicing. Author Ian Inglis notes that the composition incorporates the same “modes, cadences and suspensions” found in Band songs such as “The Weight” and “The Night They Drove Old Dixie Down”.[23]

[The Catskill Mountains in upstate New York – surroundings that inspired the music of the Band, and Harrison's song “All Things Must Pass”] For his lyrics, Harrison drew inspiration from “All Things Pass”, a poem published in Timothy Leary's 1966 book _Psychedelic Prayers after the Tao Te Ching_.[24][25] In his 1980 autobiography, _I Me Mine_, Harrison refers to the idea for the song originating from “all kinds of mystics and ex-mystics”, including Leary.[26] Like later Harrison compositions such as “Here Comes the Sun”, “So Sad” and “Blow Away”, the lyrical and emotional content is based around metaphors involving the weather and the cycle of nature.[27] Harrison states in the opening lines of verse one: “Sunrise doesn't last all morning / A cloudburst doesn't last all day”.[28]

According to Harrison biographer Simon Leng, the lyrics reflect “life's ephemeral character” and the “transitory” nature of love.[29] Inglis suggests that the song is “[o]stensibly” about “the end of a love affair”.[30] He and theologian Dale Allison note the optimism offered in Harrison's words,[31][32] since, as Leng puts it, “a new day always dawns.”[33] Although “All Things Must Pass” avoids religiosity, Allison writes that its statement on the “all-inclusive” transience of things in the material world explains why so much of its 1970 parent album, _All Things Must Pass_, “finds hope and meaning only in God, who does not pass away”.[34] The song's main message is offered in its middle eight:[35][36]

Ultimately, the cycle of nature offers “consolation”, Leng writes,[37] as further evidenced in the verse-three lines “Now the darkness only stays at night time” and “Daylight is good at arriving at the right time”.[38]

The lyrics underwent some minor changes after Harrison presented the song to the Beatles in January 1969, when they began working at London's Twickenham Film Studios for the so-called _Get Back_ project (released as the _Let It Be_ album and film).[39] He had initially written the second line of verse two as the more literal “A wind can blow those clouds away”,[40] but bootlegs from the sessions reveal John Lennon suggesting the word “mind” to introduce a bit of “psychedelia” into the song.[41] Similarly, the repeated line “it's not always gonna be this grey” was originally “It's not always been this grey” in verses one and two.[42] {{-}}

Pre-_All Things Must Pass_ recording history

The Beatles' _Get Back_ rehearsals

In contrast with the creative equality he enjoyed with Dylan and the Band in Woodstock,[43][44] Harrison returned to the Beatles fold and found the same discordant atmosphere that had blighted the White Album sessions in 1968.[45][46] Early on during the _Get Back_ rehearsals – and tellingly, music journalist John Harris notes, before the arrival that day of Lennon and his partner Yoko Ono – Harrison enthused with fellow Beatles Ringo Starr and Paul McCartney about the Band's camaraderie and group ethos, saying: “They're just living, and they happen to be a band as well.”[47]John Harris, “Into the Woods”, _Mojo_, December 2003, p. 92.

On 2 January, day one of the Twickenham film shoot,[48] Harrison introduced “All Things Must Pass”, and the band worked on the song intermittently over the next four days of filming.[49][50] In the search for a suitable musical arrangement, Harrison stressed his preference for a “feel” akin to the Band, a suggestion that resulted in Lennon switching from guitar to Lowrey organ, a keyboard favoured by the Band's Garth Hudson.[51] During the Twickenham rehearsals, the Beatles also discussed the idea of Harrison performing “All Things Must Pass” solo for inclusion in the proposed film.[52]

They returned to the song briefly towards the end of January, by which time the project had moved location to their own Apple Studio, in central London[53] – one of Harrison's conditions for rejoining the Beatles after his temporary walkout on 10 January.[54][55] Although the band gave a fair amount of time to “All Things Must Pass”, it was ultimately put aside,[56] just as other Harrison compositions including “Old Brown Shoe”, “Isn't It a Pity”, “Let It Down” and “I Me Mine” received a lukewarm reception,[57][58] particularly from Lennon.[59][60] David Fricke of _Rolling Stone_ has referred to this period as a “struggle” for Harrison “against the patronizing restrictions of writing within and for the Beatles”.[61] Doug Sulpy and Ray Schweighardt, authors of _Get Back: The Unauthorized Chronicle of The Beatles' Let It Be Disaster_, observe that Lennon and McCartney routinely rejected Harrison's songs, “even though some were far better than their own”.[62]

The Beatles never formally recorded “All Things Must Pass”,[63] and only rehearsal takes circulate on bootleg compilations from the sessions.[64] The _Fly on the Wall_ bonus disc accompanying the McCartney-instigated _Let It Be... Naked_ album (2003) includes a snippet of the Beatles indulging in some Band-like chorusing on the song.[65]

Harrison's solo demo

During the Beatles' Apple Studio session on 28 January,[66] Harrison talked with Lennon and Ono about possibly doing a solo album of his unused songs, in order to “preserve this, the Beatle bit, more”.[67] Lennon offered his support for the idea.[68] While author Bruce Spizer has suggested that Lennon was keen to “spare” the band from having to work on Harrison's songs,[69] Sulpy and Schweighardt consider that Lennon's enthusiasm was because such a solo project would allow him and Ono to continue their own recording activities “without causing friction within The Beatles”.[70]

On 25 February 1969, his 26th birthday, Harrison entered Abbey Road Studios alone and recorded a demo of the song, along with other recent compositions “Old Brown Shoe” and “Something”.[71][72] With Ken Scott serving as engineer,[73] he recorded two takes of “All Things Must Pass”, adding extra electric guitar onto the second.[74][75] This version was eventually released in 1996 on the Beatles' outtake collection _Anthology 3_.[76]

Billy Preston's version

Soon after Harrison had begun talking publicly about making a solo album, during the final months of 1969,[77][78] he offered “All Things Must Pass”, along with the more recent “My Sweet Lord”, to Billy Preston for the latter's album _Encouraging Words_.[79][80] Through Harrison's invitation,[81] Preston had played keyboards for the Beatles once the _Get Back/Let It Be_ sessions resumed at Apple Studio,[82][83] where the 22-year-old Texan had impressed with his superior musicianship and convivial presence.[84][85] Preston was soon offered a recording deal with Apple Records,[86] _Encouraging Words_ being the second album under the contract.[87][88]

Co-produced by Harrison, Preston's reading of “All Things Must Pass” betrays an obvious debt to his former mentor, Ray Charles.[89] While Harrison's later recording is generally viewed as the definitive version,[90] Bruce Eder of AllMusic considers this treatment of the song the superior of the two.[91] Preston's version appeared in September 1970,[92] five months after the Beatles' break-up.[93]

_All Things Must Pass_ recording

While completing his production on Preston's release,[94] Harrison chose to record the song himself for what became the title track of his post-Beatles solo debut, the triple album _All Things Must Pass_.[95] In describing “All Things Must Pass” as a “haunting hymn about the mortality of everything”, author Elliot Huntley notes the added poignance in Harrison's version, due to the death of his mother in July 1970 after a long period of illness.[96]

With Phil Spector as his co-producer, Harrison taped the basic track at Abbey Road Studios between 26 May and early in June.[97] Other participants included Clapton, German bassist Klaus Voormann and Starr, the latter another avowed Band fan.[98] Leng credits the song's piano part to Bobby Whitlock, who also sang backing vocals with Clapton,[99] his future bandmate in Derek and the Dominos.[100] In his 2010 autobiography, Whitlock states that it was Preston who played the piano on “All Things Must Pass”, while his own contribution was pump organ, or harmonium.[101] Although Leng lists both Harrison and Clapton as having played acoustic guitar and Starr and Jim Gordon on drums,[102] according to the personnel that Whitlock offers, neither Clapton nor Gordon played on the song.[103] Among the overdubs on the track, Nashville session musician Pete Drake recorded a pedal-steel guitar part during a brief visit to London,[104] to participate in sessions for Harrison songs such as “Behind That Locked Door” and “I Live for You”.[105]

Spector's erratic behaviour[106] during the _All Things Must Pass_ sessions left Harrison to handle most of the project alone,[107][108]John Bergstrom, “George Harrison: All Things Must Pass”, PopMatters, 14 January 2011 (retrieved 28 January 2015). but in August 1970, after receiving a tape of Harrison's early mixes of the songs, Spector provided him with written feedback and guidance.[109] Spector wrote of “All Things Must Pass”, “This particular song is so good that any honest [vocal] performance by you is acceptable as far as I'm concerned”,[110] but he expressed his disapproval of the horns at the start of the track.[111] In the words of authors Chip Madinger and Mark Easter, “clearer heads prevailed” and Jim Price and Bobby Keys' horn parts were retained.[112]

The recording opens with “unvaryingly steady” piano chords, Inglis writes,[113] and what Leng terms “sensitive” string orchestration from John Barham,[114] soon joined by the horns and Drake's pedal steel.[115] Leng highlights this combination as providing the song with its rising and falling musical moods, implying variously light and darkness;[116] Inglis writes of the musical arrangement mirroring the “competing impressions” of hope and melancholy found in Harrison's lyrics.[117] True to its Catskill roots, the recording evokes the Band's “The Weight”[118][119] and their eponymous second album,[120] the tracks on which were similarly inspired by “the beauty of that autumn in Woodstock”, according to Helm.[121]

Release and album artwork

[The song's title and message provided inspiration for Barry Feinstein's cover photo for _All Things Must Pass_] Almost two years after Harrison wrote the song, “All Things Must Pass” was released in November 1970,[122] closing side three of the triple album in its original LP format.[123] Despite its high retail price, _All Things Must Pass_ was a major commercial success,[124][125] comfortably outselling concurrent solo releases by Lennon and McCartney.[126][127]

The song's title was invariably seen as a statement on the demise of the Beatles,[128][129] as commentators viewed the album as Harrison's liberation from the artistic constraints imposed on him within the band.[130][131] The album's cover image, showing Harrison seated on his Friar Park lawn surrounded by four reclining garden gnomes – thought to represent the Beatles – was also viewed as reflecting this theme.[132] While commenting that “All Things Must Pass” had “accrue[d] new layers of relevance” during the album's creation, particularly with the death of Harrison's mother, former _Mojo_ editor Paul Du Noyer writes: “Nobody in November 1970 could have mistaken the title's significance ... As if to cement the association of ideas, the wry cover picture has George in solitary splendour, surrounded by a quartet of gnomes.”[133] In a 2001 interview, photographer Barry Feinstein admitted that the words “All Things Must Pass” had helped inspire his set-up for the photo, saying: “What else could it be? ... [It] was over with The Beatles, right? And that title ... Very symbolic.”[134]

Reception and legacy

On release, Ben Gerson of _Rolling Stone_ described “All Things Must Pass” as “eloquently hopeful and resigned” while labelling the album “the music of mountain tops and vast horizons”.[135]Ben Gerson, “George Harrison _All Things Must Pass_”, _Rolling Stone_, 21 January 1971 (retrieved 3 July 2012). _Beatles Forever_ author Nicholas Schaffner noted in 1977, with reference to Harrison's commercial and critical dominance over his former bandmates following the break-up: “The very fact that the Beatles had kept George's flowering talents so under wraps proved to be his secret weapon.”[136] Schaffner named “All Things Must Pass” and “Beware of Darkness” as the two “most eloquent” songs on _All Things Must Pass_, “musically as well as lyrically”, with “mysterious, seductive melodies, over which faded strings and horns hover like Blue Jay Way fog”.[137]

Writing for _Rolling Stone_ in 2000, Anthony DeCurtis praised the song for its musical demonstration of “the sweet satisfactions of faith”.[138]Anthony DeCurtis, , _Rolling Stone_, 12 October 2000 (retrieved 28 April 2012). On a triple album where “nearly every song is excellent”, AllMusic picks “All Things Must Pass” as one of five standout tracks (or AMG track picks),[139] with Richie Unterberger writing of its autumnal theme: “It's the kind of song that fits the mood in November, when the trees are getting stripped bare of their leaves, the days are getting shorter and colder, and you have to resign yourself to knowing it's going to be tougher and tougher in those regards for months, also knowing that those hardships will pass away come springtime.”[140]Richie Unterberger, “George Harrison 'All Things Must Pass'”, AllMusic (retrieved 17 February 2015). In his book on Harrison, subtitled _A Spiritual Biography_, Gary Tillery refers to the song as “magisterial” and a “majestic title track” that “leaves even the shallowest listener contemplative”.[141] Michael Gallucci of Ultimate Classic Rock places “All Things Must Pass” third on his list of Harrison's best solo songs (behind the two hit singles from _All Things Must Pass_, “My Sweet Lord” and “What Is Life”), and comments: “The album's title track takes on more poignancy after Harrison's death [in 2001], but it's always been great.”[142]Michael Gallucci, “Top 10 George Harrison Songs”, Ultimate Classic Rock (retrieved 28 March 2014). Writing for Rough Guides, Chris Ingham similarly describes the song as “a heart-rending piece of significant prescience which seems to take on more poignancy with every passing year”.[143]

Among Harrison's biographers, Simon Leng considers “All Things Must Pass” a “classic of Harrison's lyrical ambiguity, in essence a hopeful song, without sounding so”, with a lyric that “approaches Bob Dylan standard”.[144] Ian Inglis also praises the lyrics, writing: “The song contains some of Harrison's most insightful and pensive words. 'Daylight is good at arriving at the right time' is a fine example of his ... ability to position the profound within the commonplace.”[145] Elliot Huntley rates it as one of Harrison's “most beautiful” songs, “if not _the_ very best”, and suggests that the sentiments behind “All Things Must Pass” would have made it a “fitting conclusion” to the final album recorded by the Beatles, _Abbey Road_ (1969).[146]

Bruce Spizer similarly rates “All Things Must Pass” a highlight of Harrison's career,[147] while Leng considers it “perhaps the greatest solo Beatle composition” of all.[148] In his book _Revolution in the Head_, Ian MacDonald describes “All Things Must Pass” as “the wisest song never recorded by The Beatles”.[149] In 2009, _The Guardian_ included the track in its list of “1000 Songs Everyone Must Hear”.[150]

Performance and later releases

“All Things Must Pass” was not a track that Harrison ever played in concert,[151] although it appeared on his preliminary setlist for the 1971 Concert for Bangladesh shows.[152] He twice performed the song live in front of TV cameras during the final years of his life,[153] beginning with his appearance with Ravi Shankar on VH1's _Hard Rock Live_, filmed in New York on 14 May 1997.[154][155] The pair were on the show to promote their recent collaboration, _Chants of India_,[156] but at host John Fugelsang's urging, Harrison accepted an acoustic guitar and performed a brief rendition of “All Things Must Pass”.[157][158] In late 2000, Harrison sang “All Things Must Pass” while again seated on a stool on Friar Park's main lawn, a performance that was included in the press kit for _All Things Must Pass_{{'}}s 30th anniversary reissue early the following year.[159][160]

Coinciding with this 2001 reissue, the song appeared on a promotional single as the B-side to “My Sweet Lord (2000)”.[161][162] After being omitted from the “cursory” selection of 1970–75 tracks on _The Best of George Harrison_ (1976), Inglis writes, the song appeared on Harrison's 2009 career-spanning compilation _Let It Roll_.[163]

In Martin Scorsese's 2011 documentary _George Harrison: Living in the Material World_, “All Things Must Pass” is the first song featured in the film, played over footage of German air raids over Britain during World War II.[164][165] In November that year, a 1970-recorded demo of the song (featuring just Harrison, Starr and Voormann) appeared on the deluxe edition CD accompanying the British DVD release of the film;[166][167] this CD was subsequently issued worldwide in May 2012 as _Early Takes: Volume 1_.[168]Stephen Thomas Erlewine, “George Harrison: _Early Takes, Vol. 1_”, AllMusic (retrieved 15 September 2012).

On 27 November 2020, the Harrison family released a stereo remix of the _All Things Must Pass_ recording to mark the album's 50th anniversary.[169]

Cover versions

Steve Wood and Daniel May composed music to the 1998 documentary film _Everest_ incorporating melodies from some of George Harrison's songs, one of which was “All Things Must Pass”.[170]

At the Concert for George tribute to Harrison, held at London's Royal Albert Hall on 29 November 2002, Paul McCartney sang “All Things Must Pass”,[171] backed by a large band that included Preston, Clapton, Voormann and Starr.[172] Leng notes the irony in McCartney performing the song,[173] while Beatles biographer Peter Doggett comments: “it wasn't hard to imagine Harrison's cynicism as McCartney led the band into a soulful rendition of 'All Things Must Pass' – one of the songs that the other Beatles had refused to take seriously in January 1969.”[174] According to Clapton, author Robert Rodriguez writes, McCartney “was humbled at having to relearn it”.[175]

Several other artists have recorded “All Things Must Pass” in the years since Harrison's death. In 2003, Bobby Whitlock and his wife, CoCo Carmel, included the song on their acoustic live album _Other Assorted Love Songs, Live from Whitney Chapel_.[176]Bruce Eder, “Bobby Whitlock & Kim Carmel _Other Assorted Love Songs_”, AllMusic (retrieved 30 September 2013). Jazz guitarist Joel Harrison covered “All Things Must Pass” on his album _Harrison on Harrison: Jazz Explanations of George Harrison_, released in October 2005.[177] In 2007, a live version by the Waterboys appeared on their CD single “Everybody Takes a Tumble”,[178] and the following year Sloan Wainwright included a cover of the song on her album _Rediscovery_.[179]

“All Things Must Pass” was among the Harrison compositions covered by Jim James on his _Tribute To_ EP, recorded in December 2001 but not released until August 2009.[180] Also in 2009, Klaus Voormann released a version of the song on his solo album _A Sideman's Journey_,[181] with Yusuf Islam on vocals and acoustic guitar.[182][183]

Personnel

The musicians who performed on Harrison's _All Things Must Pass_ version of the song are believed to be as follows:[184]

-   George Harrison – vocals, acoustic guitar, backing vocals
-   Eric Clapton – acoustic guitar, backing vocals
-   Pete Drake – pedal steel
-   Billy Preston – piano[185]
-   Bobby Whitlock – harmonium,[186] backing vocals
-   Klaus Voormann – bass
-   Ringo Starr – drums, tambourine
-   Jim Gordon – drums
-   Bobby Keys – saxophone
-   Jim Price – trumpet, trombone,[187] horn arrangement
-   John Barham – string arrangement

Notes

[1]

[2]

[3] Harris, p. 66.

[4] Clayson, p. 258.

[5] Leng, pp. 51–53.

[6] Leng, p. 317.

[7] Olivia Harrison, p. 194.

[8] George Harrison, pp. 57–58.

[9] Helm, pp. 177–78.

[10] Clayson, p. 242.

[11] Miles, p. 313.

[12] Huntley, p. 18.

[13] MacDonald, p. 302.

[14] George Harrison, p. 164.

[15]

[16] Leng, pp. 39, 52.

[17]

[18] Lavezzoli, p. 186.

[19] George Harrison, p. 184.

[20] Timothy White, “George Harrison: 'All Things' In Good Time”, billboard.com, 8 January 2001 (retrieved 3 June 2014).

[21]

[22] MacDonald, p. 448.

[23] Inglis, p. 30.

[24] Greene, p. 140.

[25] Allison, p. 135.

[26]

[27] Leng, pp. 42, 96–97, 152, 205.

[28] George Harrison, p. 186.

[29] Leng, p. 96.

[30]

[31]

[32] Allison, pp. 37–38.

[33]

[34] Allison, pp. 62, 135.

[35] Leng, pp. 96–97.

[36] Allison, p. 62.

[37]

[38]

[39]

[40] George Harrison, p. 185.

[41] Sulpy & Schweighardt, p. 49.

[42] George Harrison, pp. 185–86.

[43] Harris, p. 68.

[44] Doggett, p. 57.

[45]

[46] Huntley, pp. 20–22.

[47]

[48] Doggett, p. 58.

[49] Miles, p. 327.

[50] Sulpy & Schweighardt, pp. 5, 319.

[51] Sulpy & Schweighardt, pp. 42, 44–45.

[52] Sulpy & Schweighardt, pp. 120–21.

[53]

[54]

[55] Miles, pp. 330, 331.

[56] Sulpy & Schweighardt, pp. 6, 295.

[57] Leng, p. 39.

[58] The Editors of _Rolling Stone_, pp. 38, 187.

[59] Huntley, pp. 18–19, 21.

[60] Miles, p. 328.

[61] The Editors of _Rolling Stone_, p. 180.

[62] Sulpy & Schweighardt, p. 1.

[63]

[64] Sulpy & Schweighardt, p. 6.

[65] Huntley, p. 21.

[66] Sulpy & Schweighardt, pp. 292–93.

[67] Hertsgaard, p. 283.

[68]

[69] Spizer, p. 220.

[70]

[71] Miles, p. 335.

[72] Leng, p. 41.

[73]

[74]

[75] Mark Lewisohn, liner notes in booklet accompanying the Beatles' _Anthology 3_ CD (Apple Records, 1996; produced by George Martin), p. 33.

[76] Spizer, p. 225.

[77] Peter Doggett, “Fight to the Finish”, in _Mojo: The Beatles' Final Years_, p. 139.

[78] Inglis, pp. 16, 161.

[79] Clayson, pp. 280–81.

[80] “Billy Preston _Encouraging Words_”, Apple Records (retrieved 28 April 2012)

[81] Miles, p. 331.

[82]

[83] Huntley, pp. 25–27.

[84] Kit O'Toole, “Billy Preston Inspires Musically and Spiritually with 1970's _Encouraging Words_”, Blogcritics, 30 July 2011 (retrieved 20 January 2015).

[85] Madinger & Easter, p. 424.

[86] Clayson, p. 263.

[87] Lois Wilson, “The Fifth Element”, in _Mojo: The Beatles' Final Years_, p. 80.

[88] Spizer, p. 340.

[89] Leng, p. 71.

[90]

[91] Bruce Eder, “Billy Preston _Encouraging Words_”, AllMusic (retrieved 28 April 2012).

[92] Castleman & Porazik, pp. 91–92.

[93] Badman, p. 1.

[94] Madinger & Easter, pp. 426–27.

[95] Tillery, p. 87.

[96]

[97] Badman, p. 10.

[98] Leng, pp. 69, 96.

[99]

[100] Rodriguez, p. 77.

[101] Whitlock, pp. 75, 81.

[102]

[103] Whitlock, p. 81.

[104] Woffinden, pp. 36–37.

[105] Huntley, pp. 56, 306.

[106] Harris, p. 72.

[107] Clayson, p. 289.

[108]

[109]

[110]

[111]

[112] Madinger & Easter, p. 431.

[113]

[114]

[115]

[116]

[117]

[118]

[119] Clayson, p. 251.

[120] Leng, pp. 53, 96.

[121] Helm, p. 178.

[122]

[123] Castleman & Podrazik, p. 94.

[124] Doggett, p. 148.

[125] Madinger & Easter, p. 427.

[126]

[127] Huntley, p. 63.

[128]

[129] Harris, p. 73.

[130] Rodriguez, p. 147.

[131]

[132] The Editors of _Rolling Stone_, p. 40.

[133] Paul Du Noyer, “George Harrison's All Things Must Pass” , pauldunoyer.com, 13 March 2009 (retrieved 20 January 2015).

[134]

[135]

[136] Schaffner, p. 140.

[137] Schaffner, p. 142.

[138]

[139] Richie Unterberger, “George Harrison _All Things Must Pass_”, AllMusic (retrieved 24 September 2013).

[140]

[141] Tillery, pp. 88, 153.

[142]

[143] Ingham, p. 133.

[144] Leng, p. 97.

[145]

[146] Huntley, p. 59.

[147]

[148] Leng, p. 310.

[149]

[150] “George Harrison 'All Things Must Pass'” , Acclaimed Music (retrieved 9 December 2014).

[151] Madinger & Easter, pp. 436–37, 447, 473, 481, 485.

[152] Olivia Harrison, p. 288.

[153] Womack, pp. 24–25.

[154] Badman, p. 568.

[155] Lavezzoli, p. 198.

[156]

[157] Badman, pp. 572–73.

[158] Madinger & Easter, p. 488.

[159] Electronic press kit, _All Things Must Pass (30th Anniversary Edition)_, Gnome Records/EMI, 2001.

[160] Womack, p. 25.

[161] Tim Neely, “George Harrison Solo Discography (U.S.)”, _Goldmine_, 25 January 2002, p. 19.

[162] “George Harrison – My Sweet Lord (2000) / All Things Must Pass (vinyl)”, Discogs (retrieved 6 October 2013).

[163] Inglis, pp. 65, 128, 156.

[164] _George Harrison: Living in the Material World_ DVD (Village Roadshow, 2011; directed by Martin Scorsese; produced by Olivia Harrison, Nigel Sinclair & Martin Scorsese).

[165] Chris Norris, “_George Harrison: Living in the Material World_”, _Film Comment_, October 2011 (retrieved 26 September 2013).

[166] “George Harrison – All Things Must Pass (Living in the Material World Bonus Tracks) video” , nme.com (retrieved 26 October 2013).

[167] Steve Leggett, “_George Harrison: Living in the Material World_ (Video)”, AllMusic (retrieved 23 April 2014).

[168]

[169] Emily Tan, “George Harrison Estate Releases Stereo Mix of 'All Things Must Pass'”, _Spin_, 27 November 2020 (retrieved 27 November 2020).

[170] Badman, pp. 588–89.

[171]

[172] _Concert for George_ DVD (Warner Strategic Marketing, 2003; directed by David Leland; produced by Ray Cooper, Olivia Harrison, Jon Kamen & Brian Roylance).

[173]

[174] Doggett, p. 333.

[175] Rodriguez, p. 148.

[176]

[177] Matt Collar, “Joel Harrison _Harrison on Harrison: Jazz Explanations of George Harrison_”, AllMusic (retrieved 4 October 2013).

[178] Amazon listing: “Everybody Takes a Tumble (Single, Import), The Waterboys” (retrieved 29 April 2014).

[179] “_Rediscovery_ – Sloan Wainwright”, Second Hand Songs (retrieved 22 September 2012).

[180] Andrew Leahey, “Yim Yames _Tribute To_”, AllMusic (retrieved 20 August 2012).

[181] “Klaus Voormann _A Sideman's Journey_”, AllMusic (retrieved 1 October 2013).

[182] “George Harrison Cover Songs” , The Covers Project (retrieved 22 September 2012).

[183] News: “Klaus joins Yusuf on songs for charity” , yusufislam.com, 13 January 2009 (retrieved 1 October 2013).

[184]

[185]

[186]

[187]

title: All Things Must Pass (song)

question: Why did Robbie Robertson invite George Harrison to Woodstock?

answer: Robbie Robertson was the lead guitarist for the band Big Pink. Harrison loved their music and shared his enthusiasm with the British press, declaring the band the 'new sound to come from America'. This helped to establish the band internationally.

question: What similarities does "All things must pass" share with "Here comes the sun" and "Blow away"?

answer: The lyrical and emotional content revolves around metaphors about the weather and the cycle of nature.

question: What was the irony of MacCartney performing 'All things must pass' at the tribute to Harrison?

answer: The Beatles had rejected the song and refused to record it in 1968. Yet MacCartney sang it at the 2002 tribute to Harrison.

question: How was the title of the song perceived by the public?

answer: It was seen as a statement on the demise of the Beatles.


text:
BRIAN KENNETH RUSSELL (born 1 August 1950) is a British Anglican priest. He was Archdeacon of Aston from 2005 to 2014.[1]

Russell was educated at Bristol Grammar School, Trinity Hall Cambridge and Ripon College Cuddesdon. He was ordained deacon in 1976, and priest in 1977.[2] He was Curate at St Matthew, Redhill from 1976 to 1979; Priest in charge at St John, Kirk Merrington from 1979 to 1983; Director of Studies and Lecturer in Christian Doctrine at Lincoln Theological College from 1983 to 1986; Secretary to the Committee for Theological Education of the ACCM from 1986 to 1993; and the Bishops Director for Ministries for the Diocese of Birmingham from 1993 until his appointment as Archdeacon.

Since 2014 he has been Senior Chaplain at St Edmund, Oslo.[3]

[1] ‘RUSSELL, Ven. Brian Kenneth’, Who's Who 2017, A & C Black, an imprint of Bloomsbury Publishing plc, 2017; online edn, Oxford University Press, 2016 ; online edn, Nov 2016 [http://www.ukwhoswho.com/view/article/oupww/whoswho/U45910, accessed 24 Dec 2016]

[2] Crockford's Clerical Directory 1980–82: Oxford, OUP, 1983

[3] Church web site

title: Brian Russell (priest)

question: Who was Brian Kenneth Russel?

answer: a British Anglican priest

question: What is an Archdeacon?

answer: the article does not answer this question

question: Where was Brian Kenneth Russell educated?

answer: Bristol Grammar School, Trinity Hall Cambridge and Ripon College Cuddesdon

question: What is a Curate in the Anglican church?

answer: the article does not answer this question

question: Write a ~1 sentence summary.

answer: Brian Kenneth Russell was a British Anglican priest.


text:
[Building of Council of Ministers of Crimea]

The COUNCIL OF MINISTERS OF THE AUTONOMOUS REPUBLIC OF CRIMEA (; ), briefly SovMin, was until February 27, 2014 the executive branch of government of the Autonomous Republic of Crimea, a republic within southern Ukraine. The Council of Ministers derived its authority from the Constitution and laws of Ukraine and normative acts of the Verkhovna Rada of Crimea which bring them into its competency.

The Chairman, who was appointed by the Verkhovna Rada (parliament) with approval of the President of Ukraine, headed the cabinet.

On 27 February 2014, during the 2014 Crimean crisis, masked gunmen seized the building of the Council of Ministers and members of the Council.[1] Under siege, the Supreme Council of Crimea, chaired by Vladimir Konstantinov, passed a motion of no confidence in the Council of Ministers of Crimea and adopted a resolution to terminate its powers.[2] The parliament dismissed the chairman of the Crimean Council of Ministers Anatolii Mohyliov, and replaced him with a pro-Russian deputy Sergey Aksyonov, who was proclaimed the de facto leader by the ousted president Victor Yanukovych.[3] The ensuing interim Crimean Parliament promptly scheduled a referendum on the independence of Crimea to be held on March 16, 2014.[4]

History

The Council of Ministers of Crimea was formed March 22, 1991 in connection with the re-creation of the USSR as part of the Crimean Autonomous Republic, by converting the executive committee of the Crimean regional council. In the years 1994-1997 the highest executive body of the Crimean autonomy of Crimea was called by the Government, with the February 3, 1997 - Council of Ministers of the Autonomous Republic of Crimea.

February 27, 2014 the Supreme Council of the Autonomous Republic of Crimea adopted a decision on “vote of no confidence to the Council of Ministers of Crimea and the termination of its activities”, after which the then Prime Minister of Crimea, Anatolii Mohyliov, was dismissed, and the existing body appointed Sergey Aksenov. There was a total of 63 votes, 60 of which being in favor of the dissolution, with 0 against and 3 abstained from voting.[5] Various media accounts have disputed whether there was a quorum of 50 deputies before the session convened that day, and some Crimean legislators who were registered as present have said they did not come near the building.[6]

March 6, 2014 the Supreme Council of the Autonomous Republic of Crimea has decided to amend the system and structure of executive bodies. In accordance with the decree, republican authorities formed by the Supreme Council of Crimea by the Chairman of the Council of Ministers of Crimea, and appointment and dismissal of the heads of national authorities carried out the Crimean Parliament in accordance with the Constitution of the Autonomic Republic of Crimea.

March 17, 2014, based on the results of the referendum and adopted the All-Crimean March 11 Declaration of Independence was proclaimed an independent and sovereign Republic of Crimea. On the same day in accordance with the decision of the Crimean Parliament “On the official names of the authorities of the Republic of Crimea and other bodies” executive authority of the State is called the Council of Ministers of the Republic of Crimea.

After the adoption of the Crimean Republic of the Russian Federation 18 March 2014 the Council of Ministers of the Republic of Crimea has been transformed into an executive authority of the Russian Federation.

According to the Constitution of the Republic of Crimea, approved April 11, 2014, the Council of Ministers of Crimea headed directly or Head of the Republic of Crimea - the highest official of the Republic (in order to combine with the office of the Prime Minister) - Chairman of the Board or of Ministers appointed by the head of the Republic of Crimea with the consent of the State Council . Currently in force government was formed February 28, 2014.

On April 11, 2014 the Council of Ministers decided to establish the Ministry of Construction and Architecture of the Crimea to replace the existing National Committee for Construction and Architecture. Appointed minister Vladimir Nikolov.

Powers and responsibilities

In accordance with Article 83 of the Constitution of the Republic of Crimea, the Council of Ministers of the Republic:

-   Develop and implement measures to ensure an integrated socio-economic development of the Republic of Crimea;
-   Provides within its powers the unified state policy in the field of finance, science, education, culture, health, physical culture and sports, social security, road safety and ecology;
-   Carries within its authority measures for the implementation, maintenance and protection of the rights and freedoms of citizens, protect property and public order, fighting terrorism and extremism, and crime;
-   Carries within its authority measures to ensure state guarantees the equality of rights, freedoms and legitimate interests of citizens regardless of race, nationality, language, religion, and other circumstances; prevent restriction of rights and discrimination on grounds of social, racial, national, linguistic or religious affiliation; preservation and development of ethnic and cultural diversity of the peoples of the Russian Federation, residing in the territory of the Republic of Crimea, their languages and cultures; Protection of National Minorities;
-   Social and cultural integration of migrants; the prevention of interethnic (ethnic) conflict and the promotion of inter-ethnic and inter-religious harmony;
-   Developed to represent the Head of the Republic of Crimea to the State Council of the Republic of Crimea draft budget of the Republic of Crimea and projects of socio-economic development of the Republic of Crimea;
-   Ensures the implementation of the budget of the Republic of Crimea, is preparing a report on its implementation, as well as reports on the implementation of socio-economic development of the Republic of Crimea;
-   Forms other executive bodies of the Republic of Crimea;
-   Manages and disposes of the property of the Republic of Crimea in accordance with the laws of the Republic of Crimea, and manages federal property transferred Republic of Crimea in the management in accordance with federal laws and other normative legal acts of the Russian Federation;
-   Holds the right to offer the local government body, elected or other official of local government to align with the legislation of the Russian Federation issued their legal acts if these acts contradict the Constitution of the Russian Federation, federal laws and other normative legal acts of the Russian Federation, the Constitution, laws and other normative legal acts of the Republic of Crimea, as well as the right to appeal these acts in a judicial order;
-   Exercise other powers established by federal laws, the Constitution and laws of the Republic of Crimea, as well as agreements with the federal executive authorities, concluded in accordance with Article 78 of the Constitution of the Russian Federation.

In the limits of the powers of the government of the republic, they are binding on all its territory. Decisions and orders of the Council of Ministers of the Republic of Crimea shall not contradict the Constitution and laws of the Russian Federation and the Republic of Crimea, as well as decrees of the President of the Russian Federation and the Russian Federation Government Resolution.

Composition during the annexation

Composition was disputed as none of the appointments were approved by the President of Ukraine, while voting for the new council is challenged by the Ukrainian parliament.

-   Chairman - Sergey Aksyonov
-   First Deputy - Rustam Temirgaliev
-   Minister of Information - Dmitry Polonsky
-   Minister of Defense - Valery Kuznetsov

Dissolved Council

-   Chairman - Anatolii Mohyliov
-   First Deputy Chairman - Pavlo Burlakov
-   Deputy Chairman/Minister of Economical Development and Trade - Kateryna Yurchenko
-   Deputy Chairman/Minister of Resorts and Tourism - Heorhiy Psarev
-   Deputy Chairman/Minister of Regional Development and Communal Living - Aziz Abdullayev
-   Head of Office of Sovmin Affairs - Olha Udovina
-   Minister of Finance - Mykola Skoryk
-   Minister of Culture - Olena Plakida
-   Minister of Agrarian Policy and Food - Valeriy Kravets
-   Minister of Social Policy - Yelena Semichastna
-   Minister of Education and Science, Youth and Sport - Vitalina Dzoz
-   Minister of Healthcare - Ihor Shpak

Previous Chairmen of Republican Committees

-   In transportation and communication - Mykola Cherevkov
-   In fuel, energy and innovation policy - Ihor Zosimov
-   In land resources - Oleksandr Chabanov
-   In construction - Andriy Lyashevsky
-   In inter-ethnic relationships - Eduard Dudakov
-   In protection of Cultural Heritage - Serhiy Tur
-   In water management construction and land improvement - Ihor Vail
-   In information - Vadym Volchenko
-   In protection of Natural Environment - Yevhen Bubnov
-   In forestry and hunting - Ihor Katsai

Others

-   Chief of MVS in Crimea is the Deputy Minister of Ministry of Internal Affairs of Ukraine

[1] Ukrainian News: Unknown Persons Seize Buildings Of Crimea's Supreme Council, Council of Ministers (09:32, Thursday, February 27, 2014) . Intefax. 27 February 2014.

[2] 1 Crimean parliament dismisses autonomous republic's government Feb. 27, 2014

[3] 2 Crimean parliament dismisses autonomous republic's government Feb. 27, 2014

[4] 3 Ukraine Alleges Russian “Invasion” Of Crimea As Obama Warns Of “Costs” March 1, 2014.

[5]

[6]

title: Council of Ministers of Crimea

question: What happened on February 27, 2014?

answer: Masked gunmen seized the building of the Council of Ministers of the Autonomous Republic of Crimea and members of the council. The Supreme Council of Crimea passed a motion of no confidence in the Council of Ministers of Crimea and adopted a resolution to terminate its powers.

question: Who was Anatolii Mohyliov replaced with?

answer: Anatolii Mohyliov was replaced with Sergey Aksyonov.

question: When was the Council of Ministers of Crimea formed?

answer: The council was formed on March 22, 1991.

question: How many total votes where there on February 27, 2014?

answer: There were a total of 63 votes. 60 were in favor of dissolution, 0 were against, and 3 abstained from voting.

question: Write a ~2 sentence summary.

answer: This article details the Council of Ministers of the Autonomous Republic of Crimea. It was dissolved on the February 27, 2014, during the annexation crisis of Crimea.


text:
KUL MAN GHISING (, ) is the former managing director of Nepal Electricity Authority (NEA). He is known for solving the load-shedding problem, whereby, for decades, the country had power outages of up to 18 hours daily, within two months of taking office.[1][2][3]

Early life and education

Ghising was born in Bethan village of Ramechhap District in eastern Nepal,[4] and went to Duhu Secondary School as a child.[5] He moved to Kathmandu and went to Bal Sewa Secondary School in Jhochhe, starting in the seventh grade.[6] He graduated high school from Amar Adarsh Secondary School and went to Amrit Science College for the Intermediate degree.[7] He received free scholarship from Regional Institute of Technology in Jamshedpur, India, to become an electrical engineer.[8] He completed his post-graduate studies from Pulchowk Engineering College.[9]

Career

Ghising was appointed the mananging director of NEA on 14 September 2016 by a cabinet decision. He had been associated with NEA for over two decades prior to the appointment. At the time of the appointment, he was serving as the project chief of Rahughat Hydroelectricity Project, having been managing director of the Chilime Hydropower Company before that. Experienced in power trade and distribution, he said eliminating load shedding would be one of his main foci, in an interview following his appointment.[10]

Ending load shedding

Scheduled daily power-cuts called load-shedding, extending up to 18 hours in the dry winter months,[11] had been a persistent problem in Nepal for decades. When Ghising was appointed to lead the NEA, he emphasised better management and more equitable power distribution.[12] By ending the policy of providing 24 hours uninterrupted power supply to a few large industries at the expense of the general public, he immediately eliminated power cuts in the major cities, and reduced power cuts to other parts of the country to around two hours every other day. He overhauled the hydropower generation system storing water during low demand hours, and bringing online power plants that had been inoperative due to poor maintenance. He launched a public awareness campaign to discourage the use of high-power domestic equipment during peak hours.[13] Load-shedding was eliminated across the country, for both residential and industrial sectors by May 2018.[14][15]

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title: Kul Man Ghising

question: What is Kul Man Ghising known for?

answer: He is known for solving the load-shedding problem in Nepal within two months of taking office.

question: List all the positions Ghising had during his career.

answer: Managing director of NEA, project chief of Rahughat Hydroelectricity Project, and managing director of the Chilime Hydropower Company

question: Where was Ghising born?

answer: He was born in Bethan village of Ramechhap District in Eastern Nepal.

question: How did Ghising eliminate load shedding?

answer: He emphasized better managemnt and more equitable power distribution. By ending the policy of providing 24 hours of uninterrupted power supply to a few large industries at the expense of the general public, he immediately eliminated power cuts in major cities, and reduced power cuts to other parts of the country.

question: What is load shedding?

answer: They are scheduled daily power cuts.

question: Write a ~2 sentence summary.

answer: This article discusses the life and career of Kul Man Ghising, who is the former managing director of  Nepal Electricity Authority (NEA). He is most known for solving the problem of load shedding in Nepal within 2 months of taking office as managing director.


text:
VALENTIN ILIEVSKI[1] (born 16 October 1968) is a Macedonian-German mechanical engineer, businessman, general director of the Messer Group subsidiary in Bosnia and Herzegovina[2][3] and 38th and current president of the assembly of FK Sarajevo since December 2016, taking charge of the club from his predecessor Edis Kusturica.[4]

[1] Održana vanredna sjednica Skupštine, Valentin Ilievski izabran za Predsjednika Skupštine

[2] Otkrivamo ko je Valentin Ilievski? Biznismen na čelu FK Sarajevo

[3] Messer BH Gas – Management Team

[4] Vanredna sjednica / Valentin Ilievski novi predsjednik Skupštine FK Sarajevo

title: Valentin Ilievski

question: Who is Valentin Ilievski?

answer: He is a Macedonian-German mechanical engineer, businessman, general director of the Messer Group subsidiary in Bosnia and Herzegvovina.

question: Illieveski is the current president of what?

answer: He is the current president of the assembly of FK Sarajeveo.

question: Who was Illieveski's predecessor?

answer: Edis Kusturica.

question: When was Ilievski born?

answer: He was born on October 16, 1968.

question: Write a ~1 sentence summary.

answer: This article describes the career accomplishments of Valentin Ilievski.


text:
I can’t keep living like this. And it’s not your fault—it’s mine. I’m living for you when I should be living for myself, for evenings with friends and holidays with family. Because there isn’t a we. I have to live my own life.

And it isn’t you. I’ve been living in a fantasy, that’s the problem, a fantasy of you and me. I keep thinking that one day you’ll wake up and see me waiting here for you and everything will be like it’s supposed to. You’ll say hi and I’ll say hi and you’ll run your hand through your hair and the spikes will flip back up and I’ll laugh cause it’s cute and you’ll tell me I have a nice smile cause you like the way I squint and my freckles squish around my eyes. We’ll go to the docks, like we always do, and I’ll say the sea smells nice and you’ll say it looks a bit green like its sick and I’ll say that’s the way it’s supposed to look cause this isn’t Hawaii and you’ll say well it doesn’t look good for swimming and I’ll tell you of course it’s good for swimming and we should go sometime and you’ll promise we will someday. Someday isn’t going to come though. You’ll never get to read the notes or see the orange roses with the peeling petals I bought you. I wrote them every day, you know, little haikus and couplets. I thought you’d like that. They’re all stacked on the nightstand under the roses with wilting petals.

I guess we’re just not meant to be. I was so sure we were, yet here we are. Here I am, spilling my guts. Honestly, I can’t stand that we aren’t meant to be. It’s like losing faith. But I guess I have to let go of that the way I have to let go of you. You know, every day I dream about you and me. And you and me don’t exist. At least, not like that. I have to shake that out of my head. So it’s me. It’s my problem.

I can’t forget that time we stayed on the phone till two in the morning, just talking, and the way you laughed at my crappy jokes. That was wonderful. I won’t forget that. I was the most in love with you in those moments. Those were the moments you could have asked me to do anything for you and I would have said yes without hesitation. I was too afraid to tell you this before, but you left me breathless. I should have told you sooner. I guess I’m telling you now, though, and that must count for something. But I can’t help but feel like it’s too late. It’s so hard to find that place between too soon and too late. I’m not sure it exists, really, if there’s a right time to say I love you. I haven’t found it anyway. I know this is terrible timing but I have to tell you that I love you.

But I have to stop thinking about it, because it won’t bring you to me. So I’m going to try to forget how it felt when you smiled at me and how it felt when we spoke in unison. I have to move on, even if it’s without you, even if it hurts. I have to move on.

I’m sorry I’m telling you all this, but I feel like I should explain myself. I need to tell you why I can’t see you anymore. We’ll meet again someday, I’m sure, but at least for now I need to let you go. I don’t know if I can forgive myself for letting you go, but I have to try to live my own life. I hope you can forgive me.

I love you, but it’s not enough. Sometimes love doesn’t conquer. Sometimes it dies. And I’m going to let it, because we can’t save it. I can’t save it. So I’m going to let them unplug you now. They said you’ll stop breathing and your heart will stop beating and it will be slow, but you won’t feel a thing. I’m glad. I wonder if you can even feel this right now. If you can feel me leaving you. Well, in case you can, here’s the ring. I can’t keep it. Not if I’m going to keep going. Not if I’m going to live.

I’ve stayed with you through everything—rich and poor, sickness and health—but I can’t watch you die. I’m not going to stay, so this is goodbye. See you later, love.

title: Halcyon [flash fiction]

question: What genre does the story belong to?

answer: The story's genre is love.

question: What emotions is the writer experiencing?

answer: The writer is experiencing the pain of letting go of a loved one.

question: What is the likely gender of the writer?

answer: It seems like the writer may be a male.

question: What effect does the writer's lover's illness have on the writer?

answer: The fact that the lover is on the death bed makes the writer upset. He/she tries to tell how much they love them. They know that their lover will die soon but they cannot watch them die.


text:
Cameron Stiles sat in his foxhole staring off in the direction of the enemy lines.  You never could really know where the bastards were in the God forsaken jungle.  Cameron was 19 years old, short, wiry, with a shock of bright red hair.  Fresh out of Light Infantry school, Cameron had only joined the Legion 15 months ago.  He'd thought Legion Basic and LI school had been hell.  Before that, he believed hell was some kind of fiery pit the dead went to when they finally departed the living.  Now he knew he'd been wrong on both counts.  Now he knew that hell was actually a jungle paradise called Cyradon.

As he sat contemplating the path that had brought him into this living nightmare, it started raining.  The Cyradonians loved to use the cover of the rain to sneak up on you in your foxhole.  He checked the chamber of his MK33 rifle.  There was the dull flash of lead.  Good.  Ready to shoot; ready to kill.  Again.  When Cameron arrived at LI school after Legion Basic, he'd been slotted to be a rifleman.  All the time he'd spent in outdoors hunting gave him an edge over his classmates though, and by the end of the cycle he'd earned a spot as a squad designated marksman.  This meant he'd been issued to carry a MK33 instead of the standard issue MK32 carbine.  Thirty-nine and a half inches long, and 11.7 pounds it was a monster of a weapon.  A bullpup assault rifle with a 36 inch barrel and chambered in 7.62×54mm, it was accurate out to 1200 meters.  Cameron had tested that fact on multiple occasions.  Three months in theater and he already had 49 confirmed kills.  They'd be sending him to Sniper School at this rate

He steadied his rifle on the edge of his foxhole, and began scanning his sector.  Staff Sergeant Connor had begun posting Cameron far ahead of the rest of the squad as a picket.  All that time hunting had sharpened his field craft as well as his marksmanship skills.  The Cyradonians had not been able to ambush the squad in over a week.

Cameron froze as he heard a rustle in the brush ahead of him.  He quickly pressed his eye to rifle's scope, ready to shoot.  A baby jungle cat rushed out of the brush chasing some kind of invisible prey.  Or running from something... Only two things could scare a jungle cat, even a baby one.  Fire... or a snake.  Cameron shivered, but kept his weapon steady.  Snakes scared the shit out of him.  Because on Cyradon, a snake wasn't just a snake.  Two hundred feet long, 30 feet in diameter, and 40 tons of pure hunger and predatory instinct.  The snakes were the reason the Cyradonians built their cities in the treetops, 300 feet above the jungle floor.  At least the snakes weren't venomous.  Then again, they didn't need to be.  All of the fighting and killing and warm human bodies seemed to put them into a feeding frenzy.  They were a bitch to kill too.  Without anti-tank rockets or a lot of bravery, insanity or stupidity, and even more incendiary grenades it was impossible to do.  The one time Cameron had seen it done another Legionaire had jumped in the snake's open mouth and thrown six incendiaries down it's throat.  Neither combatant had survived the encounter.

Cameron saw a flicker of movement out of the corner of his eye, off to his left.  He swung in that direction, focusing his crosshairs on the source of the disturbance.  The camouflaged face of a man pushed slowly out of the underbrush.  His eyes widened when he saw Cameron.  Cameron's eyes widened as well, even has he pulled the trigger.  The rifle cracked loudly and the man's face disappeared in a fine mist of blood, brains, and bone fragments.  The world went silent for a moment.  Even the rain seemed to be holding it's breath.  Then everything erupted in a storm of fire and death.

Cameron ducked as little lead hornets rushed over his head, hunting for him.  Gunfire began rattling behind him as well as first his squad then, gradually, the rest of his platoon began returning fire.  Cameron poked his head up over the top of his foxhole, confident now that the enemy didn't know his position, was just firing blindly hoping to kill something.  Cameron began targeting the muzzle flashes.  Inhale, squeeze, exhale.  Inhale, squeeze, exhale.  Every time he squeezed the trigger, another muzzle would stop flashing.  Sometimes, the man behind the muzzle would begin firing again.  Other times, he wouldn't.  Cameron didn't even feel the sick to his stomach feeling be bad anymore.  It was just a part of him, like his hand or leg.  It had been that way since his first kill.  It had filled him then, threatened to overwhelm him.  Now, he never noticed it, even though it was always present.

Slowly, the firing slackened.  The unspoken rule on Cyradon was that a firefight never lasted longer than exactly three minutes and seventeen seconds.  Any longer than that and the snakes began to take notice.  No one on either side wanted that kind of attention.  Finally, the shooting stopped entirely, like a fire starved of oxygen.  The world returned to a serene silence, blissfully unaware of the death and tragedy that had just taken place on the surface of it's skin.

Cameron could see his fellow Legionaires beginning to stir, to come out from their hidden lairs.  They came out to count the enemy fallen for the inevitable countless reports that must be written, to salvage what equipment they could from the enemy, and to satisfy that morbid curiosity every soldier has about his enemy.  SSG Connor came crawling up to Cameron's position for a report.  After he finished explaining exactly what had happened, Cameron left his foxhole.  He'd never felt that strange curiosity before, but now it burned like a fire.  Never before had any man, or beast, noticed Cameron's presence if he didn't wish them too.  Yet that first man had not only known he was there, but had spotted him immediately.

Cameron crawled out to where his body lay.  It was impossible to tell how old he was.  His face was ruined, with only his forehead, left cheek and part of his jaw intact.  Cameron looked at what used to be the man's face dispassionately.  Men's faces always looked like that after catching a 7.62×54mm round from only 50 meters away.  The rest of his body told Cameron little as well.  He was tall and lanky, 6' 4”, and maybe 156 pounds.  The uniform showed signs of hard use, but held no insignia to indicate the man was anything other than an ordinary infantryman.  Caught by an irresistible urge, Cameron checked the man's chest pockets.  In the left pocket, he found an ID card.  Aware that he had been out of cover for too long, Cameron began crawling back to his hole.  As he crawled, Cameron realized it had stopped raining.  Oh well.  It would start raining again soon enough.

When he got back to his hole, he began examining the ID.  The man was Miles Sullivan, private attached to the 2nd Rifles Regiment.  Regular infantry grunts then.  The poor bastards had never stood a chance.  Cameron continued perusing the card.  Dark brown hair, blue eyes, 6' 4”, 156 pounds.  Cameron smiled, proud of his estimations.  He flipped the card over and froze.  Couldn't believe what he was seeing.  Looked again.  Nothing had changed.  Date of birth, March 17, 2143.  Next to the date was a full color picture.  A picture of a boy with a tangle of dark brown hair, bright blue eyes and permanent dimples as if normally he couldn't stop smiling, with baby fat still on his cheeks.  2143.  The boy wasn't a man at all, was only 17 years old.  As Cameron stared in shocked disbelief at the card, the rain started falling again.

A few meters away, SSG Connor lay watching the scene.  SSG Connor was a 10 year veteran of the Imperial Legion, had attended both LI and Marine Legion schools.  He had almost six years of combat time.  He was also a good judge of men.  He could see how the rest of his squad, even the older men, respected PFC Cameron Stiles.  He knew they all looked up to PFC Cameron Stiles for his calm demeanor, even when under fire.  That was why he was glad it started raining again.  Because it wouldn't do for the rest of his squad to see what he had just seen.  It wouldn't do for the rest of the squad to see PFC Cameron Stiles crying.

title: A short war story, no title, 1457 words

question: How many confirmed kills does the protagonist have?

answer: He has 49 confirmed kills.

question: Who is the protagonist?

answer: The protagonist is Cameron Stiles.

question: What is Cameron scared of?

answer: Cameron is scared of snakes.

question: Why is Cameron crying at the end of the story?

answer: He is crying because he has just killed a 17 year old boy.

question: Write a ~7 sentence summary.

answer: 19 year old Cameron Stiles is a marksman in the jungle of Cyradon. He is armed and suddenly hears a rustle from a baby jungle cat. He worries that it might be running from a snake. All of a sudden he sees a face of his enemy and shoots. Gunfire is returned for three minutes and then stops. Cameron checks the persons ID and finds out the boy was only 17. When he returns, he cries.


text:
Scratches

She closed the book, and placed it on her kitchen table. Even with the heavy reading she struggled in order to keep her mind off them, the scratches continued to cut into her door, slowly whipping the soft flesh of the old wooden door. With each scratch the hair on the girls arm stiffened, leaving her frozen solid, without a waft of breath to leave her mouth.
	They were long, heavy scratches. Their owner must have been tall enough to reach the top of the door, where the scrapes sluggishly traveled down the outside of her door to the floor, where they finally stopped, only to resume a few seconds later. No other sounds could be heard on the other side of the door: no snarling; no hissing; no whimper. They were intensely simple, each gash ripping out sections of the membrane that kept the girls worst fears at bay.
	As she reached the window, she carefully opened up the blinds, as if they might turn to dust with too sudden a movement. Leaning to the window, she got a good look at the dark world she was trapped in. The stars were dimmer than usual tonight, making them a haunting background to the sinister gloom of the trees surrounding her house. Each one was taller than the girl could see, with dagger-like roots that stabbed the ground, only to reveal themselves a few inches later. They were like tendrils, slowly wrapping around the mind of the small girl, trapping her like a rat in a hole. The moon, with it’s deep pale glow, was like an eye, watching the girl convulse at the loud scratches at her door. The eye illuminated the smallest detail of the damp ground outside but with the new, somber grin of the world outside her window, the girl longed for the moon to return to it’s horizon.
	Stepping away from the window, the girl finally decided to open the door, and release the beast which hid behind it. As she got closer to the door, the scratches became louder, louder, louder. She gripped the doorknob, her hands dripping with frightened perspiration. They clawed at the deepest depths of her ears, pounding like the drums of war. Slowly turning the knob, she hesitated, afraid to follow through. As one scratch began, she swung open the door, and there was no more sound. There was no more scratching.
	The cold breeze of night caressed her arms, cradling her and keeping her safe. The scratches still echoed in her skull but she was pleased that they had finally stopped. Where had they come from? Why did they have such an effect on her door? Questions tunneled through her mind, and she had no answers.
Standing in her doorway, her heart started to beat quickly again. There was no scratches on her door, but she knew something was wrong. Perhaps it was the cold wind which left her, or the moon that almost seemed to turn from a glossy white to an infected tinge of yellow. Her legs started to shake, and a feeling of dreadful sickness fell over her, like the curtain at the end of a magnificent play. She felt delirious, as if she hadn’t eaten for days, and started to frantically run her hands around her waist  as if to make sure she hadn’t disappeared like a flicker of candlelight. She felt her hips, and moved her hands around her thighs, and then up to her stomach, where she felt something odd. Was she turning to liquid? There was a thick trail of fluid running down her stomach, like a deep river, and it was coming from her. She then lifted her shirt, and saw hundreds of scratches marked on her stomach and chest. They were deep, stained red with the broken soul of the girl. She collapsed in the doorway.

title: Scratches - A Short Story I wrote for English Class

question: What is causing the scratches?

answer: At first, the girl assumes the scratches are coming from a beast on the other side of the wooden door in her kitchen. She opens the door to find nothing outside, which is when she feels the pain and discovers her stomach and chest were being scratched without her being aware of it. The story leaves the cause ambiguous, though it is implied to be supernatural in nature.

question: How does the girl feel about the scratching sound?

answer: The scratching sound fills the girl's mind, consuming her attention and filling her with fear that only escalates throughout the story.

question: What does the story say about the book the character is reading?

answer: She tries to read the book to distract herself from the scratching but it's the scratching that prevents her from being able to focus on it.

question: What does the story say about the beast?


text:
HEALTHINVESTOR is a monthly magazine and website produced by Investor Publishing Limited, London.

It covers the private hospital market and independent NHS providers in the UK. It carries company results and runs an Index of the prices of UK healthcare companies traded on the London Stock Exchange, the Alternative Investment Market and PLUS Markets. According to the British Healthcare Trades Association it is the UK healthcare industry's most respected information source.[1]

Since 2006 it has organised annual awards for leaders in the private healthcare sector,[2] and legal advisers.[3] The 2015 event was attended by over 1,300 professionals in the industry. The 2016 event was held at London's Grosvenor House Hotel.[4] HealthInvestor now organises six events nationally and in 2019 is hosting a conference in Chicago for US investors interesting in the UK healthcare market.

HealthInvestor UK is edited by Rob Munro.

[1]

[2]

[3]

[4]

title: HealthInvestor

question: What is Healthinvestor?

answer: A monthly magazine and website.

question: Who produces it?

answer: Investor Publishing Limited, London.

question: What does it cover?

answer: It covers private hospital market and independent NHS providers in the UK.

question: What is the publication doing in 2019?

answer: They're hosting a conference in Chicago for US investors interesting in the UK healthcare market.

question: Write a ~1 sentence summary.

answer: Healthinvestor is a monthly magazine and website produced by Investor Publishing Limited, London that covers the private hospital market and independent NHS providers in the UK and also carries information regarding results and index of UK healthcare companies traded on the London Stock Exchange, the Alternative Investment Market and PLUS Markets.


text:
The Fussball Club Basel 1893 1984–85 SEASON was their 91st season since their foundation. It was their 39th consecutive season in the top flight of Swiss football since their promotion in the 1945–46 season. FC Basel played their home games in the St. Jakob Stadium. For the second year running the club's chairman was Urs Gribi.

Overview

It was Ernst August Künnecke's second year as first team manager with Emil Müller as his assistant. Künnecke made amendments to the team, Walter Geisser retired and Jean-Pierre Maradan, Jörg Stohler as well as Arthur von Wartburg who had been thrown out of the squad the previous season all moved on to Grenchen. Künnecke persuaded Adrie van Kraay to join the team from Waterschei Thor. The youngsters Beat Feigenwinter (from Nordstern Basel), Livio Bordoli (from Hessen Kassel) and Ertan Irizik (from Concordia Basel) were transferred in. Basel's own youngsters Peter Nadig, Beat Sutter, Thomas Hauser, Fredy Grossenbacher and Dominique Herr were formed into team leaders.[1]

In this season Basel played a total of 63 games. 30 matches were played in the domestic league, three in the Swiss Cup and 30 were friendly matches. Of their 30 test games, 24 ended with a victory, two were drawn, four ended with a defeat, the team scored 120 goals and conceded 37. Only three of these test games were played at home in St. Jakob Stadium, the others were all played away.[2]

The 1984–85 Nationalliga A was contested by 16 teams, including the top 14 clubs from the previous season and the two sides promoted from the second level, Nationalliga B, the previous season, these being SC Zug and Winterthur. The league was contested in a double round robin format, with each club playing every other club twice, home and away. Two points were awarded for a win and one point given to each team for a draw.

The good results in pre-season test matches, including a draw against Borussia Dortmund and victories against Karlsruher SC, SC Freiburg and Bayern Munich could not be taken over in to the domestic league games. Basel lost three of their first four matches. Then, following a run of five defeats and five draws with only one win, the team suffered one defeat too many against Lausanne-Sport on the 11 November. Basel's club chairman Urs Gribi fired Künnecke. The SC Zug match was declaired forfait at a later date. Gribi installed Müller as head coach until the end of the season and Müller was able to lead the team away from the relegation zone.[3] Basel ended the season in eighth position, 15 points behind Servette Genève who became Swiss champions that year. In their 30 league matches Basel won eleven, drew nine and lost ten games. At the end of the championship season Basel had obtained 31 points, had scored 46 and had conceded 49 goals. Peter Nadig was the team's top league goal scorer with eleven goals and Beat Sutter second highest scorer with ten.[4]

Basel entered the Swiss Cup in the round of 64 with an away game against lower classed FC Dürrenast. This was won 4–0. In the second round they had a home match, also against a lower classed team FC Langenthal. This match resulted in a 6–0 victory. However, with the third round home game against Servette Basels cup season came to an end because they lost the match 0–1.[5]

Players

Players who left the squad

Results

Legend

Friendly matches

Pre- and mid-season

Winter break and mid-season

Nationalliga A

League matches

League table

{{#invoke:sports table|main|style=WDL |res_col_header=Q |show_limit=5 |winpoints=2

|team1=SER|name_SER=Servette |team2=AAR|name_AAR=Aarau |team3=NX |name_NX =Xamax |team4=STG|name_STG=St. Gallen |team5=SIO|name_SIO=Sion |team6=GCZ|name_GCZ=Grasshopper Club |team7=ZÜR|name_ZÜR=Zürich |team8=BAS|name_BAS=Basel |team9=YB |name_YB =Young Boys |team10=LS |name_LS =Lausanne-Sport |team11=WET|name_WET=Wettingen |team12=LUC|name_LUC=Luzern |team13=VEV|name_VEV=Vevey-Sports |team14=CDF|name_CDF=La Chaux-de-Fonds |team15=ZUG|name_ZUG=SC Zug |team16=WIN|name_WIN=Winterthur |win_SER=19|draw_SER=8|loss_SER=3|gf_SER=71|ga_SER=28|status_SER=C |win_AAR=16|draw_AAR=10|loss_AAR=4|gf_AAR=62|ga_AAR=43 |win_NX =14|draw_NX =11|loss_NX =5|gf_NX =59|ga_NX =34 |win_STG=13|draw_STG=11|loss_STG=6|gf_STG=66|ga_STG=32 |win_SIO=14|draw_SIO=8|loss_SIO=8|gf_SIO=56|ga_SIO=49 |win_GCZ=11|draw_GCZ=10|loss_GCZ=9|gf_GCZ=53|ga_GCZ=47 |win_ZÜR=11|draw_ZÜR=9|loss_ZÜR=10|gf_ZÜR=59|ga_ZÜR=52 |win_BAS=11|draw_BAS=9|loss_BAS=10|gf_BAS=46|ga_BAS=49 |win_YB =10|draw_YB =10|loss_YB =10|gf_YB =42|ga_YB =45 |win_LS =10|draw_LS =9|loss_LS =11|gf_LS =50|ga_LS =57 |win_WET=7|draw_WET=12|loss_WET=11|gf_WET=31|ga_WET=35 |win_LUC=9|draw_LUC=8|loss_LUC=13|gf_LUC=33|ga_LUC=53 |win_VEV=9|draw_VEV=6|loss_VEV=15|gf_VEV=40|ga_VEV=47 |win_CDF=6|draw_CDF=12|loss_CDF=12|gf_CDF=41|ga_CDF=54 |win_ZUG=4|draw_ZUG=6|loss_ZUG=20|gf_ZUG=27|ga_ZUG=71 |win_WIN=4|draw_WIN=5|loss_WIN=21|gf_WIN=32|ga_WIN=72

|col_EC=green1|text_EC=Swiss Champions, qualified for 1985–86 European Cup |result1=EC |col_CWC=yellow1|text_CWC=Swiss Cup winners, qualified for 1985–86 Cup Winners' Cup |result2=CWC |col_UC1=blue1|text_UC1=Qualified for 1985–86 UEFA Cup |result3=UC1 |col_UC2=blue1|text_UC2=Qualified for 1985–86 UEFA Cup |result4=UC2 |col_R1=red1|text_R1=Relegated to 1985–86 Nationalliga B |result15=R1 |col_R2=red1|text_R2=Relegated to 1985–86 Nationalliga B |result16=R2 |update=complete|source=rsssf.com }}

Swiss Cup

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title: 1984–85 FC Basel season

question: What is the Fussball Club Basel (FC Basel)?

answer: A professional Swiss football team that was founded in 1945 and started playing in the 1945-46 season.

question: Who is Urs Gribi?

answer: He was the chairman of FC Basel at the time of the article.

question: Who managed the team at the time of the article?

answer: Ernst August Künnecke (team manager) and his assistant, Emil Müller

question: What was FC Basel's record during the 1984-85 season?

answer: FC Basel compiled 11 wins, 10 losses, and 9 draws, finishing the season at 8th place.

question: Write a ~4 sentence summary.

answer: Fussball Club Basel (FC Basel) is a professional Swiss football team founded in 1945 and played their first season in the 1945-46 season. In the 1984-85 season, the team lost three out of four matches and went on a terrible run of five defeats, five draws, and only one win, prompting chairman Urs Gribi to fire team manager, Ernst August Künnecke. Assistant team manager Emil Müller was promoted and he was able to salvage the season. FC Basel finished the 1984-85 season with a record of 11-W /10-L /9-D, placing 8th and finishing 15 points behind eventual champions, Servette Genève.


text:
OLD NINGO is a town in the Greater Accra Region of Ghana.

History

[Old Ningo, 1870s] Also known as Great Ningo, the inhabitants have always been a fishing and farming community. They form part of the Ga-Adangbe people. The name Ningo has a much more widely known and accepted history as derived from the Ga–Dangme words _nu_ meaning water and _ngoo_ meaning salt.[1] The “nu” and “ngoo” story rather interesting is not as compelling as evidence which points to a more interesting origin. A publication in the Encyclopædia Metropolitana published in 1817 has this entry.“Ningo, near which the second Danish castle, Friedensburg, is placed, is 43 miles from Akra. In Krob6, or Krepe, a large Negro State behind it, there is a very high mountain about 20 or 25 miles distant from the sea, and apparently capped with snow.”.[2] It gives evidence to a voyager's inspired name as the name Ningo happens to be Latin for snow[3](Ningo in Latin), and as it goes the mariners would have seen the mountain 1[4] in the backdrop of the native settlers and named the place Ningo.Many other early writings[5] and references[6] on Ningo also used the term Grande in the form Ningo Grande, (grande) translate in Latin as large or great. The Name Great Ningo naturally follows.The people of Ningo like to refer themselves as “Nugoli” meaning “People of Nugo” ( Nugo being a much more locally accepted pronunciation of the name Ningo) and are proud to associate themselves with the name Great Ningo.The history of the people of Ningo is closely linked to the history of the Ga-Dangme people

Fort Fredensborg

[Ruins of Fort Fredenborg Ningo, 1890s] The Danish were the first European settlers here, establishing the Fredensborg Fort in 1734. The town was developed as a slave trading station as part of Danish Guinea . However, with the abolition of the slave trade the town dwindled in size, with the fort staffed by a single person. The fort was already in ruins when the British took over on 8 March 1850 and incorporated the town into the Gold Coast.[7] Christian Glob Dorf was Commandant from 21 June 1740 to 25 May 1743.[8]

Education

The town is also known for the Ningo Secondary School regarded as having a pleasant environment.[9][10] The school is a second cycle institution.[11]

The founder of this prestigious school is Mr. Wilson Gbli Nartey. He was born at Lewem a suburb of the Great Ningo Traditional area. He was born to a fishing family. He lived and worked with his parents for most of his childhood days. Mr. Wilson was nicknamed WUDA as a short appellation for the name AMEWUDA which meant fear Your fellow human more than the snake. Mr. Wilson built the interest to study and become a Klake (Clerk) but was not allowed as he was supposed to work with the father in his business. But one day his life changed and he took an opportunity which came calling and his life changed. Pupils were organized to have a march Procession from Old Ningo through Lewem to wokumagbe and back to old ningo, the purpose was to create awareness of the IMPORTANCE OF BEING EDUCATED, he grew fond with this and run to his mum and begged her to allow him go with pupils. The mother hesitated for while with the fear that if His dad gets to know of this they won't be spared . But with so much enthusiasm he persuaded his mom and the mother packed a few clothes and sent him away with the students.

[1]

[2] Encyclopædia Metropolitana; Or, Universal Dictionary of ..., Volume 20 edited by Edward Smedley, Hugh James Rose, Henry John Rose pg 24

[3]

[4] http://travelingluck.com/Africa/Ghana/Ghana+(general)/_2297364_Ningo.html Retrieved 15/4/2016

[5] A Practical Medico-Historical Account of the Western Coast of Africa, etc By James BOYLE (Surgeon.) Pg 332

[6] The Nautical Magazine a Journal of Papers on Subjects Connected with Maritime Affairs in General Fisher, Son & Company pg 646

[7]

[8]

[9]

[10]

[11]

title: Old Ningo

question: What does the article say about the history of Old or Great Ningo?

answer: Forming part of the Ga-Adangbe people, it is a fishing and farming community. The name supposedly stems from the Ga-Dangme words "nu" and "ngoo" meaning water and salt. However there is more compelling evidence that Ningo, latin for snow, was used to name the place by Latin-speaking mariners upon seeing a very high mountain capped with snow in the area. Fort Fredenborg Ningo was the first European settlement, established in 1734 as a slave trading station for Danish Guinea. With the abolition of slavery, the town dwindled. The fort was in ruins when the British took over in 1850.

question: What does the article say about the etymology of the name "Old Ningo/Great Ningo?"

answer: The name Ningo has a widely known and accepted history as being derived from the Ga-Dangme words "nu" and    "ngoo" meaning water and salt. However, there is another origin story published in the Encyclopedia Metropolitana in 1817 which states that there is a Danish castle, Friedensburg, placed 43 miles from  Akra. There is a very high mountain about 20 or 25 miles from the sea capped with snow. Supposedly there was a voyager inspired by the Latin word Ningo who saw the mountain in the backdrop and named the place Ningo. Many other writings reference the term Grande in the form Ningo Grande. Grande translates to large or great from Latin. The name Great Ningo naturally follows. The people of Ningo refer to themselves as "Nugoli" meaning people of Nugo. Nugo is the locally accepted pronunciation of Ningo.

question: What does the article say about education?

answer: The town is known for the Ningo Secondary Schoolm a second cycle institution regarded as having a pleasant environment. The founder of the prestigious school is Mr. Wilson Gbli Nartey. Mr. Nartey was born at Lewem, a suburb of the Great Ningo Traditional area. He was born to a fishing family and worked with his parents most of his childhood days. Mr. Nartey was interested in studying and becoming a clerk, but was not allowed because of the expectation that he'd work with his father. However, he exhibited such enthusiasm that he persuaded his mother to allow him to join a procession of students off to school.

question: What does the article say about the nature of the slave trade and why it flourished in Ghana?


text:
He raised over $2 million, all told.

[1]
Richard Garriott's Shroud of the Avatar Kickstarter has ended, and it's been a big success.

22,322 people backed the new RPG, raising nearly double - $1,919,275 - the original $1 million goal.

Donations are still open via the Shroud website, where an additional $138,328 has been raised.

Shroud of the Avatar is both a single-player RPG and a persistent online game. There's an offline mode and there are three online modes, and the latter can be freely switched between.

You'll even be able to play the Single-Player Online mode offline for a time, then reconnect to the persistent online world after a plane or train journey.

I spoke to Richard Garriott about his new game a couple of weeks ago. There's a tonne of information on the Shroud of the Avatar Kickstarter page as well.

Shroud of the Avatar will be a PC (Windows and Linux) and Mac game. Its estimated time of release is October 2014.

[2]

question: Describe what Shroud of Avatar is?

answer: Shroud of Avatar is a single player RPG and a persistent online game.

question: When is Shroud of Avatar supposed to be released?

answer: Shroud of Avatar is supposed to be released in October 2014.

question: Who created this game?

answer: Richard Garriott created this game.

question: How much money was raised by the Kickstarter?

answer: Over $2 million dollars

question: Write a ~1 sentence summary.

answer: A new game, Shroud of Avatar, is described and how the Kickstarter has raised over $2 million to back the game.