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Apollo 10 (May 18–26, 1969) was a human spaceflight, the fourth crewed mission in the United States Apollo program, and the second (after Apollo 8) to orbit the Moon. NASA described it as a "dress rehearsal" for the first Moon landing,[4] and designated it an "F" mission, intended to test all spacecraft components and procedures short of actual descent and landing. While astronaut John Young remained in the Command and Service Module (CSM) orbiting the Moon, astronauts Thomas Stafford and Gene Cernan flew the Apollo Lunar Module (LM) to within 14.4 kilometers (7.8 nmi) of the lunar surface, the point at which powered descent for landing would begin on a landing mission, before rejoining Young in the CSM. After orbiting the Moon 31 times, Apollo 10 returned safely to Earth; its success enabled the first crewed landing during Apollo 11 two months later.

While NASA had considered attempting the first crewed lunar landing on Apollo 10, mission planners ultimately decided that it would be prudent to have a practice flight to hone the procedures and techniques. The crew encountered some problems during the flight: pogo oscillations during the launch phase and a brief, uncontrolled tumble of the LM ascent stage in lunar orbit during its solo flight. However, the mission accomplished its major objectives. Stafford and Cernan observed and photographed Apollo 11's planned landing site in the Sea of Tranquility. Apollo 10 spent 61 hours and 37 minutes orbiting the Moon, for about eight of which Stafford and Cernan flew the LM apart from Young in the CSM, and about eight days total in space. Additionally, Apollo 10 set the record for the highest speed attained by a crewed vehicle: 39,897 km/h (11.08 km/s or 24,791 mph) on May 26, 1969, during the return from the Moon.

The mission's call signs were the names of the Peanuts characters Charlie Brown for the CSM and Snoopy for the LM, who became Apollo 10's semi-official mascots.[5] Peanuts creator Charles Schulz also drew mission-related artwork for NASA.[6]

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Witchfinder General (titled onscreen as Matthew Hopkins: Witchfinder General) is a 1968 British period horror film directed by Michael Reeves and starring Vincent Price, Ian Ogilvy, Hilary Dwyer, Robert Russell and Rupert Davies. The screenplay, by Reeves and Tom Baker,[a] was based on Ronald Bassett's novel Witchfinder General. The film is a heavily fictionalised account of the murderous witch-hunting exploits of Matthew Hopkins (Price), a lawyer who falsely claimed to have been appointed as a "Witch Finder Generall" by Parliament during the English Civil War to root out sorcery and witchcraft.[7] The plot follows Roundhead soldier Richard Marshall (Ogilvy), who relentlessly pursues Hopkins and his assistant John Stearne (Russell) after they prey on his fiancée Sara (Dwyer) and execute her priestly uncle John Lowes (Davies).

Made on a low budget of under £100,000, the film was produced by Tigon British Film Productions. In the United States, where it was distributed by American International Pictures (AIP), Witchfinder General was retitled The Conqueror Worm (titled onscreen as Matthew Hopkins: Conqueror Worm) by AIP to link it with their earlier series of Edgar Allan Poe adaptations directed by Roger Corman and starring Price; because its narrative bears no relation to any of Poe's stories, American prints book-end the film with his poem "The Conqueror Worm" being read through Price's narration.

Witchfinder General eventually developed into a cult film, partially attributable to Reeves's 1969 death from an alcohol and barbiturate overdose at the age of 25 and nine months after its release.[8] Several prominent critics have championed the film, including Tim Lucas, J. Hoberman, Danny Peary, Robin Wood and Derek Malcolm; their praise has highlighted its direction, performances, and musical score by Paul Ferris. In 2005, the magazine Total Film named Witchfinder General the 15th-greatest horror film of all time.[9]

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Hoodening (/ʊd.ɛnɪŋ/), also spelled hodening and oodening, is a folk custom found in Kent, a county in South East England. The tradition entails the use of a wooden hobby horse known as a hooden horse that is mounted on a pole and carried by a person hidden under a sackcloth. Originally, the tradition was restricted to the area of East Kent, although in the twentieth century it spread into neighbouring West Kent. It represents a regional variation of a "hooded animal" tradition that appears in various forms throughout the British Isles.

As recorded from the eighteenth to the early twentieth centuries, hoodening was a tradition performed at Christmas time by groups of farm labourers. They would form into teams to accompany the hooden horse on its travels around the local area, and although the makeup of such groups varied, they typically included someone to carry the horse, a leader, a man in female clothing known as a "Mollie", and several musicians. The team would then carry the hooden horse to local houses and shops, where they would expect payment for their appearance. Although this practice is extinct, in the present the hooden horse is incorporated into various Kentish Mummers plays and Morris dances that take place at different times of the year.

The origins of the hoodening tradition, and the original derivation of the term hooden, remain subject to academic debate. An early suggestion was that hooden was related to the Anglo-Saxon pre-Christian god Woden, and that the tradition therefore originated with pre-Christian religious practices in the early medieval Kingdom of Kent. This idea has not found support from historians or folklorists studying the tradition. A more widely accepted explanation among scholars is that the term hooden relates to hooded, a reference to the sackcloth worn by the person carrying the horse. The absence of late medieval references to such practices and the geographic dispersal of the various British hooded animal traditions—among them the Mari Lwyd of south Wales, the Broad of the Cotswolds, and the Old Ball, Old Tup, and Old Horse of northern England—have led to suggestions that they derive from the regionalised popularisation of the sixteenth- and seventeenth-century fashion for hobby horses among the social elite.

The earliest textual reference to the hoodening tradition comes from the first half of the eighteenth century. Scattered references to it appeared over the next century and a half, many of which considered it to be a declining tradition that had died out in many parts of Kent. Aware of this decline, in the early twentieth century the folklorist and historian Percy Maylam documented what survived of the tradition and traced its appearances in historical documents, publishing his findings as The Hooden Horse in 1909. Although deemed extinct at the time of the First World War, the custom was revived in an altered form during the mid-twentieth century, when the use of the hooden horse was incorporated into some modern Kentish folk traditions.

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The Capture of Wakefield occurred during the First English Civil War when a Parliamentarian force attacked the Royalist garrison of Wakefield, Yorkshire. The Parliamentarians were outnumbered, having around 1,500 men under the command of Sir Thomas Fairfax, compared to the 3,000 led by George Goring in Wakefield. Despite being outnumbered, Parliamentarians successfully stormed the town, taking roughly 1,400 prisoners.

Around 800 Parliamentarians had been taken prisoner after being defeated at Seacroft Moor, and Fairfax plotted the capture of Wakefield to take prisoners of his own to exchange for his men. He marched his force from Leeds and split it in two to attack from different directions. After around two hours of fighting early in the morning of 21 May 1643, Fairfax broke through into Wakefield. Goring, who had been in bed suffering from either illness or a hangover, rose and led a counterattack in his nightshirt, but to no avail and the town was captured. Fairfax gained the prisoners he needed and much ammunition. According to his own account, the Parliamentarians lost no more than seven men.

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Shefali Shah (born Shefali Shetty on 22 May 1973) is an Indian actress of film, television and theatre. Respected for her acting prowess, she works primarily in independent Hindi films and has received local and foreign accolades for her performances. Shah's acting career started on the Gujarati stage before she debuted on television in 1993. After small parts on television and a brief stint with cinema in Rangeela (1995), she gained wider recognition in 1997 for her role in the popular series Hasratein. This was followed by lead roles in the TV series Adhikar (1997), Kabhie Kabhie (1997) and Raahein (1999). A supporting role in the crime film Satya (1998) won her positive notice and a Filmfare Critics Award, and she soon shifted her focus to film acting starting with a lead role in the Gujarati drama Dariya Chhoru (1999).

Unwilling to compromise her artistic convictions, Shah was selective about her roles through the following decades. This resulted in intermittent film work, mostly in character parts and often to appreciation from critics. She appeared in the international co-production Monsoon Wedding (2001) and the mainstream comedy-drama Waqt: The Race Against Time (2005). In 2007, her portrayal of Kasturba Gandhi in the biographical drama Gandhi, My Father won her the Best Actress prize at the Tokyo International Film Festival, and she received the National Film Award for Best Supporting Actress for the drama film The Last Lear. Among her subsequent film roles, she played a leading part in Kucch Luv Jaisaa (2011) and was noted for her work in the social problem film Lakshmi (2014) and the ensemble drama Dil Dhadakne Do (2015).

Shah's career surged in the late 2010s as she transitioned to leading roles. She won a Filmfare Short Film Award for her performance in Juice (2017) and followed with two Netflix projects: the romantic drama Once Again (2018) and the International Emmy Award-winning crime miniseries Delhi Crime (2019). Her performance as DCP Vartika Chaturvedi in the latter met with widespread acclaim. Shah wrote and directed two self-starring COVID-19-themed short films in 2020: Someday and Happy Birthday Mummyji, and led the segment "Ankahi" in the anthology film Ajeeb Daastaans (2021). Five 2022 projects, including the Disney+ Hotstar webseries Human, the feature dramas Jalsa and Darlings, as well as the second season of Delhi Crime, brought Shah further recognition.

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55 Wall Street, formerly the National City Bank Building, is an eight-story building on Wall Street between William and Hanover streets in the Financial District of Lower Manhattan in New York City, United States. The lowest three stories were completed in either 1841 or 1842[a] as the four-story Merchants' Exchange and designed by Isaiah Rogers in the Greek Revival style. Between 1907 and 1910, McKim, Mead & White removed the original fourth story and added five floors to create the present building. The facade and part of the interior are New York City designated landmarks, and the building is a National Historic Landmark listed on the National Register of Historic Places (NRHP). The building is also a contributing property to the Wall Street Historic District, listed on the NRHP.

55 Wall Street's granite facade contains two stacked colonnades facing Wall Street, each with twelve columns. Inside is a cruciform banking hall with a 60-foot (18 m) vaulted ceiling, Corinthian columns, marble floors and walls, and an entablature around the interior. The banking hall was among the largest in the United States when it was completed. The offices of Citibank's predecessor National City Bank were in the corners of the banking hall, while the fourth through eighth floors were used as office space.

The Merchants' Exchange building was erected to replace an older structure that had burned down in the Great New York City Fire of 1835. 55 Wall Street subsequently hosted the New York Stock Exchange and the United States Custom House until a new Custom House building was developed on Bowling Green. After the building's expansion, it served as the headquarters of National City Bank from 1908 to 1961, though Citibank continued to own the building until 1992. The upper stories operated as a hotel from 2000 to 2003, then were renovated again and converted into condominiums in 2006. The original banking room became a ballroom.

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The eye is a region of mostly calm weather at the center of tropical cyclones. The eye of a storm is a roughly circular area, typically 30–65 kilometers (19–40 miles) in diameter. It is surrounded by the eyewall, a ring of towering thunderstorms where the most severe weather and highest winds occur. The cyclone's lowest barometric pressure occurs in the eye and can be as much as 15 percent lower than the pressure outside the storm.[1]

In strong tropical cyclones, the eye is characterized by light winds and clear skies, surrounded on all sides by a towering, symmetric eyewall. In weaker tropical cyclones, the eye is less well defined and can be covered by the central dense overcast, an area of high, thick clouds that show up brightly on satellite imagery. Weaker or disorganized storms may also feature an eyewall that does not completely encircle the eye or have an eye that features heavy rain. In all storms, however, the eye is where the barometer is lowest.[1][2]

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Bennerley Viaduct (originally Ilkeston Viaduct[1] and known informally as the Iron Giant[2]) is a former railway bridge, now a foot and cycle bridge, between Ilkeston, Derbyshire, and Awsworth, Nottinghamshire, in central England. It was completed in 1877 and carried the Great Northern Railway's (GNR) Derbyshire Extension over the River Erewash, which forms the county boundary, and its wide, flat valley. The engineer was Samuel Abbott, who worked under Richard Johnson, the GNR's chief engineer. The site required a bespoke design as the ground would not support a traditional masonry viaduct due to extensive coal mining. The viaduct consists of 16 spans of wrought iron, lattice truss girders, carried on 15 wrought iron piers which are not fixed to the ground but are supported by brick and ashlar bases. The viaduct is 60 feet (18 metres) high, 26 feet (8 metres) wide between the parapets, and over a quarter of a mile (400 metres) long. It was once part of a chain of bridges and embankments carrying the railway for around two miles (three kilometres) across the valley but most of its supporting structures were demolished when the line closed in 1968. The only similar surviving bridge in the United Kingdom is Meldon Viaduct in Devon.

The viaduct opened in January 1878. Its working life was uneventful except for minor damage inflicted by a Zeppelin bombing raid during the First World War. Plans to demolish the viaduct failed because of the cost of dismantling the ironwork and it became a listed building in February 1974. After closure, the viaduct received little maintenance and fell into disrepair. Railway Paths, a walking and cycling charity, acquired it for preservation in 2001 but work faltered due to a lack of funding. The viaduct was listed on the Heritage at Risk Register in 2007 and the 2020 World Monuments Watch for its condition and lack of use. A detailed survey was undertaken in 2016 and 2018 and funding for restoration work was secured in 2019. The work included rebuilding an embankment to allow step-free access. It opened to the public as part of a cycling and walking route in January 2022.

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A History of British Fishes is a natural history book by William Yarrell, first serialised in 19 parts from 1835, and then published bound in two volumes in 1836. It is a handbook or field guide systematically describing every type of fish known to occur in the British Isles, with an article for each species.

Yarrell was a London bookseller and newsagent with the time and income to indulge his interest in natural history. He was a prominent member of several natural history societies and knew most of the leading British naturalists of his day. He was able to draw on his own extensive library and collection of specimens, his wide network of like-minded naturalist friends and his access to major libraries to garner material for his writings, the most important of which were A History of British Fishes and the 1843 A History of British Birds.

A History of British Fishes followed the example of Thomas Bewick's natural history books in its combination of up-to-date scientific data, accurate illustrations, detailed descriptions and varied anecdotes. The wood engraving illustrations were drawn by Alexander Fussell and engraved by John Thompson; three editions and their two supplements were published by John Van Voorst's company, based in Paternoster Row, London. Yarrell died in 1856, and the third edition was produced posthumously. The book was a commercial success and became the standard reference work for a generation of British ichthyologists. Yarrell's name is commemorated in eight species, three of which are fish, and in the lightfish genus Yarrella.

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The black-and-yellow broadbill (Eurylaimus ochromalus) is a species of bird in the typical broadbill family Eurylaimidae. A small, distinctive species, it has a black head, breastband, and upperparts, a white neckband, yellow streaking on the back and wings, and wine-pink underparts that turn yellow towards the belly. The beak is bright blue, with a green tip to the upper mandible and black edges. It shows some sexual dimorphism, with the black breastband being incomplete in females.

Native to Brunei, Indonesia, Malaysia, Myanmar, Singapore, and Thailand, it inhabits evergreen forest, dipterocarp forest, swamp forest, heath forest, and forest edge, along with secondary forest and plantations that contain large trees. Mainly inhabiting lowlands, the species is found up to elevations of 1,220 m (4,000 ft). The black-and-yellow broadbill is mainly insectivorous, but also feeds on molluscs and incidentally takes fruit.

The black-and-yellow broadbill breeds during the dry season throughout its range, with both sexes helping build a large, untidy, pear-shaped nest out of moss, fungal mycelia, and leaves. Eggs are laid in clutches of two or three, sometimes containing a fourth runt egg, and are incubated by both sexes. The species is listed as near-threatened by the IUCN due to a decline in its population caused by habitat loss.