Bodmin Moor is a granite moorland in northeastern Cornwall, England. It is 208 square kilometres in size, dates from the Carboniferous period of geological history, it includes Brown Willy, the highest point in Cornwall, Rough Tor, a lower peak. Many of Cornwall's rivers have their sources here, it has been inhabited since at least the Neolithic era, when primitive farmers started clearing trees and farming the land. They left their megalithic monuments, hut circles and cairns, the Bronze Age culture that followed left further cairns, more stone circles and stone rows. By medieval and modern times, nearly all the forest was gone and livestock rearing predominated; the name Bodmin Moor is recent. An early mention is in the Royal Cornwall Gazette of 28 November 1812; the upland area was known as Fowey Moor after the River Fowey, which rises within it. Bodmin Moor is one of five granite plutons in Cornwall. Dramatic granite tors rise from the rolling moorland: the best known are Brown Willy, the highest point in Cornwall at 417 m, Rough Tor at 400 m.
To the south-east Kilmar Tor and Caradon Hill are the most prominent hills. Considerable areas of the moor are poorly form marshes; the rest of the moor is rough pasture or overgrown with heather and other low vegetation. The moor contains about 500 holdings with around 10,000 beef cows, 55,000 breeding ewes and 1,000 horses and ponies. Most of the moor is a Site of Special Scientific Interest, Bodmin Moor and has been designated an Area of Outstanding Natural Beauty, as part of Cornwall AONB; the moor has been identified by BirdLife International as an Important Bird Area because it supports about 260 breeding pairs of European stonechats as well as a wintering population of 10,000 Eurasian golden plovers. The moor has been recognised as a separate natural region and designated as national character area 153 by Natural England. Bodmin Moor is the source of several of Cornwall's rivers: they are mentioned here anti-clockwise from the south; the River Fowey flows through Lostwithiel and into the Fowey estuary.
The River Tiddy flows southeast to its confluence with the River Lynher. The River Inny flows southeast to its confluence with the River Tamar; the River Camel rises on Hendraburnick Down and flows for 40 km before joining the sea at Padstow. The River Camel and its tributary the De Lank River are an important habitat for the otter, both have been proposed as Special Areas of Conservation The De Lank River rises near Roughtor and flows along an irregular course before joining the Camel south of Wenford; the River Warleggan flows south to join the Fowey. On the southern slopes of the moor lies Dozmary Pool, it is glacial in origin. In the 20th century three reservoirs have been constructed on the moor. Various species of waterfowl are resident around these waters; the parishes on the moor are as follows: 10,000 years ago, in the Mesolithic period, hunter-gatherers wandered the area when it was wooded. There are several documented cases of flint scatters being discovered by archaeologists, indicating that these hunter-gatherers practised flint knapping in the region.
During the Neolithic era, from about 4,500 to 2,300 BC, people began clearing trees and farming the land. It was in this era that the production of various megalithic monuments began, predominantly long cairns and stone circles, it was likely that the forming tors were viewed in a similar manner to the manmade ceremonial sites. In the following Bronze Age, the creation of monuments increased with the production of over 300 further cairns, more stone circles and stone rows. More than 200 Bronze Age settlements with enclosures and field patterns have been recorded, and many prehistoric stone barrows and circles lie scattered across the moor. In a programme shown in 2007 Channel 4's Time Team investigated a 500-metre cairn and the site of a Bronze Age village on the slopes of Rough Tor. King Arthur's Hall, thought to be a late Neolithic or early Bronze Age ceremonial site, can be found to the east of St Breward on the moor. Where practicable, areas of the moor were used for pasture by herdsmen from the parishes surrounding the moor.
Granite boulders were taken from the moor and used for stone posts and to a certain extent for building. Granite quarrying only became reasonably productive; the moor gave its name to one of the medieval districts called stannaries which administered tin mining: the boundaries of these were never defined precisely. Until the establishment of a turnpike road through the moor in the 1770s the size of the moorland area made travel within Cornwall difficult, its Cornish name, Goen Bren, is first recorded in the 12th century. English Heritage monographs "Bodmin Moor: An Archaeological Survey" Volume 1 and Volume 2 covering the post-medieval and modern landscape are publicly available through the Archaeology Data Service. Jamaica Inn is a traditional inn on the Moor. Built as a coaching inn in 1750 and having an association with smuggling
The 2/14th Battalion was an infantry battalion of the Australian Army that served during World War II. Part of the 21st Brigade, 7th Division, the battalion was raised from Second Australian Imperial Force volunteers drawn from the state of Victoria. After completing training in Australia in 1940, the battalion deployed to the Middle East where it was stationed in Egypt and Palestine before it saw action against the Vichy French in Syria in June and July 1941, in a short lived campaign. Garrison duties in Lebanon followed before the battalion was withdrawn to Australia in early 1942 as Australian forces were concentrated in the Pacific to respond to the threat posed by Japan's entry into the war. After a short period of re-training in Australia to prepare for jungle warfare, the battalion was deployed to New Guinea in August 1942 as the Australians sent reinforcements to the Kokoda Track to fight against Japanese forces, advancing towards Port Moresby. After the Japanese were forced to exhaust their supplies they began to fall back towards their beachheads on the north coast.
The 2/14th was part of the Australian advance that saw further action around Gona. In September 1943, after a period of re-organisation in Australia, the battalion took part in the advance on Lae as the Allies went on the offensive in New Guinea, before taking part in the fighting in the Markham and Ramu Valleys of the Finisterre Range campaign; the battalion's final involvement in the war came in the landing on Balikpapan in 1945. The 2/14th was disbanded after the war, in early 1946; the 2/14th Battalion was raised on 26 April 1940 at Puckapunyal, shortly after the start of World War II as part of the all-volunteer Second Australian Imperial Force, established at the time from personnel that had volunteered to serve in combat overseas. The battalion was assigned to the 21st Brigade, 7th Division, would remain part of this formation throughout its existence, it had an authorised strength of around 900 personnel, most of those were drawn from the state of Victoria, although some were allocated from other states as reinforcements.
Many of the battalion's initial recruits had previous military experience, having served in the Militia prior to volunteering for the 2nd AIF, with the majority having to relinquish rank to transfer. The battalion's average age on formation was 29, although the battalion historian, William Russell, asserts that this is not accurate as men were found to have altered their ages both up and down upon recruitment. In keeping with 2nd AIF recruitment practices, there were many pairs of brothers who were early recruits. Soon after battalion headquarters was established, the battalion's first commanding officer, Lieutenant Colonel William Cannon, began choosing his officers, who set about the task of forming their own companies and platoons, as the unit structure was built up around four rifle companies – designated'A' through to'D' – with a battalion headquarters and a headquarters company consisting of several specialist platoons including signals, anti-aircraft, transport and mortars; the battalion's companies were formed along territorial lines, with'A' Company being drawn from the Mildura and north-eastern regions of Victoria, while'B' Company was drawn from Geelong, the Western District, Prahran and the Mornington Peninsula.'C' Company consisted of men from Ballarat and Melbourne's inner suburbs, men of Scottish ancestry, while those of Irish ancestry formed'D' Company.
Once the battalion's complement of men had arrived at Puckapunyal and formation was complete, basic training began in May 1940. On 18 August, the battalion was presented its regimental colours in a ceremony by members of the 14th Battalion, who had served during World War I; this was done in order to establish links with the units of the First Australian Imperial Force, in early October, the 2/14th Battalion changed its Unit Colour Patch from a black over blue diamond to the yellow and blue rectangle of its earlier counterpart. Shortly after this, although still only trained, the battalion received orders to deploy overseas, on 18 October the men embarked upon the Aquitania in Sydney, New South Wales, bound for the Middle East. Travelling via India, where they camped at Deolali, near Bombay, the battalion arrived at Kantara, in Egypt on 25 November 1940 and were transported to Julius Camp in Palestine, where the soldiers undertook further training, they were moved to Dimra in January 1941, before being sent in April to Mersa Matruh, in Egypt, to defend against a possible German attack there during the Siege of Tobruk.
Although no German attack came there, during their time at Maaten Bagush the battalion was subjected to aerial attack. It remained there until the end of May; the 21st Brigade returned to Palestine to begin preparations for operations in Syria and Lebanon against the Vichy French in order to prevent the area from falling into the hands of the Germans who could have launched an attack on the Suez Canal from there, or captured the oilfields in Persia. The 2/14th Battalion's involvement in the Syria–Lebanon campaign began on the night of 7/8 June when the unit advanced across the Palestine border from Hanita and attacked Vichy outposts around the village of Alma Chaab. Following this, the battalion advanced along the coast towards Tyre, from where it evicted the French defenders before forcing a crossing over the Litani River. On 11 June, the 21st Brigade's advance towards Sidon came up against determined resistance aro
Bayt'Affa was a Palestinian village in the Gaza Subdistrict. It was destroyed during the 1947 -- 48 Civil War in Mandatory Palestine, it was located 29 km northeast of Gaza and Wadi al-Rana ran east of the village. The village had a khirba which contained the remains of walls made of ancient columns, uncut stones and a well. Incorporated into the Ottoman Empire in 1517 with all of Palestine, Bayt'Affa appeared in the 1596 tax registers as being in the Nahiya of Gaza, part of Gaza Sanjak, it had a population of 26 Muslim households, an estimated 143 inhabitants, who paid taxes on wheat, vine yards and fruit trees. 1/24 th of the revenue went to a waqf. In 1838 Edward Robinson noted it as Beit ` a Muslim village in the Gaza district. In 1863, Victor Guérin found it to be a village of 400 inhabitants, surrounded by tobacco and cucumber fields, while an Ottoman village list of about 1870 indicated 37 houses and a population of 90, though the population count included men, only. In 1883, the Palestine Exploration Fund's "Survey of Western Palestine", described Bayt'Affa as resembling Iraq Suwaydan.
In addition, Bayt'Affa was supplied with a well. According to the 1922 census of Palestine conducted by the British Mandate authorities, Bayt'Affa had a population of 422 Muslims, which had increased in the 1931 census to 462, still all Muslim. In the 1945 statistics, there were 700 Muslims, with 5,808 dunams of land, according to an official land and population survey. Of this, 14 dunams were used for plantations and irrigable land, 5,657 used for cereals, while 26 dunams were built-up land; the population left their homes following the capture of the village by the Israeli army around 9 July 1948. The Egyptian army drove the Israelis out a few days and the village was not re-taken until Operation Yoav in the second half of October; the village was destroyed. Following the war the area was incorporated into the State of Israel. In 1953 Yad Natan was established just south on the land of Iraq Suwaydan. In 1992 the village site was described: "There are no traces of village houses. Fruit trees citrus, are planted on the surrounding land and are irrigated from the Jordan River diversion canal."
My Dinosaur Life is the fourth studio album by the American rock band Motion City Soundtrack. Produced by Mark Hoppus, the album was released on January 2010 by Columbia Records. After many years on independent label Epitaph Records, Motion City Soundtrack signed to major label Columbia in 2006, prior to the release of their third album, Even If It Kills Me. Blink-182 bassist Mark Hoppus returned to produce the album; the album was recorded at Opra Music Studios in North Hollywood, California. The album's themes center on growing older. Musically, the album retains the band's sound with less of an emphasis on the Moog synthesizer. Drummer Tony Thaxton broke his arm prior to recording, which led the band to use a drum machine on early recordings, their only major-label release, My Dinosaur Life was well received by music critics. The album represented their highest peak position in the U. S. charting at number fifteen on the Billboard 200. In support of the album, the group toured worldwide, making appearances in the U.
S. the United Kingdom and Japan. After releasing three records on the independent Epitaph label, Motion City Soundtrack signed a multiple-album deal with Columbia Records in late 2006, months before releasing their previous album Even If It Kills Me. Following the move, the guitarist Joshua Cain said, "It just felt right to make the move when there was the right interest there." With the new signing, the band's promotional team aimed to develop a balance between the benefits of a new major label and their previous grass-roots approach. The album was produced by the Blink-182 frontman Mark Hoppus, who worked with the band for their second album, Commit This to Memory. Hoppus said that the band wanted to follow in the tracks of Commit This to Memory, but to push things further, he said the album would incorporate a more experimental side of the group. "There's an edge on this record that I'm excited about getting into," he said, "But it still has all the catchiness of everything that I love about Motion City Soundtrack.
As a fan, it's exciting to get to work with them again and help them flesh out this new vision of themselves." Pierre recalled that the atmosphere in the studio was more loose than their first time working with Hoppus. The band announced that they were to begin recording sessions with Hoppus in April 2009. Due to drummer Tony Thaxton's broken arm, the band were forced to rearrange the sequence in which they recorded; the drums were replaced by electronic beats and drum machines until Thaxton was able to play properly in the last week of recording. It was confirmed that recording had been completed on June 28, 2009; the band picked the title My Dinosaur Life after a quote Pierre kept repeating—they felt it a nice representation of the album's themes, which include growing old and feeling out of place. The album title was derived from frontman Justin Pierre misquoting a line from the 2008 film American Teen; the album's music is inspired by post-hardcore music. "Worker Bee" was chosen to open the album due to its energetic, "to-the-point" tone.
Pierre created the song on his own at home bringing the completed music to the band. "A Life Less Ordinary" came about early in the writing process. Pierre wrote the song as the group had an opportunity to record it with producer John Fields, though they would re-record it with Hoppus. Pierre took the title from the film A Life Less Ordinary, though it has "nothing to do with that film". Pierre deemed it the most "honest" song he had written to that point. "Disappear" was a favorite of the band for its darker, more aggressive quality. "Delirium" came together in the first writing session. Bassist Matthew Taylor felt its lyrics regarded someone getting treatment for addiction and "taking initiative" to get past their burdens. "History Lesson" was likened to a rowdy, "Irish drinking song" by the band. It is the only song on the album produced by Ed Ackerson, who recorded a "re-worked" version of it with the band after sessions for the album were complete."Stand Too Close" was an autobiographical take on Pierre's relationship history.
They considered it unconventional in its lack of a traditional chorus. "@!#?@!" was Pierre's creation. He wrote it as a type of tongue-in-cheek "nerd's anthem"; the title is a reference to the video game Q*bert and the main character's comic swear speech bubble. The band considered "Hysteria" a more eccentric song. "Skin and Bones" concerns questioning one's place in existence. It was a favorite of Pierre's, who regarded it as both beautiful. Hoppus joked after he recorded his vocal track that the band "writes some pretty uplifting songs." The album's final song, "The Weakends", ends on a hopeful note. Pierre dubbed it a "procrastination anthem." Whilst on tour with Blink-182, Motion City Soundtr
"Now or Never" is a song by American singer Halsey from her second studio album Hopeless Fountain Kingdom. It was released on April 4, 2017 through Astralwerks as the lead single with its music video being released as an instant grat with the album's pre-order. Halsey co-wrote the song with Starrah and its producers Cashmere Cat, Happy Perez, Benny Blanco, it is a dark pop song that incorporates R&B. Commercially, "Now or Never" reached the top twenty of Australia and the US, it was certified 2x Platinum in the US. Halsey announced on March 7, 2017 the release month and title of her second studio album Hopeless Fountain Kingdom, set for release in June, she opted for a more mainstream-oriented sound for the album, saying: "I am more than capable of writing radio music and I'll put my money where my mouth is on this album." The single was announced alongside the reveal of the cover through Halsey's social media accounts a day before its official release. "Now or Never" was written by Halsey and Starrah alongside producers Cashmere Cat, Happy Perez and Benny Blanco.
This also served as her "therapist in a weird way" during the recording process. She stated: "We'd finish the track and be ready to go, he'd be like,'Hey, I heard that thing you sang. Are you OK?'. It was kind of like he was hearing a cry for help in what I was singing, cool because it made us bond." The song has been described as R&B slow jam. Lyrically, it sees Halsey offering a lover an ultimatum to love her "now or never". In the context of following her successful pop collaboration with The Chainsmokers, "Closer", Jon Caramanica in The New York Times opined "Now or Never" is "worrisome, and it's effective if it's not Halsey." Billboard editor Jason Lipshutz wrote, " doesn't have the massive chorus of "Closer"–its hook compared to Rihanna's "Needed Me," simmers and never detonates–but the song possesses the type of slow tempo and vulnerable vocal delivery that has worked for recent hits like Julia Michaels' "Issues" and Khalid's "Location." Brittany Spanos of Rolling Stone thought Halsey "embraces a more sensual sound," moving away from the "industrial-leaning alternative pop" of her debut album Badlands.
Anna Caga of Spin expressed that it "sounds like someone left a can of Rihanna's "Needed Me" on the counter until it went flat." The music video was directed by Halsey with Sing J Lee, marking the singer's directorial debut, with cameo appearances by Heather Graham, Jaimie Alexander, Rebecca Hall, Justin Theroux and Claire Danes. It was shot in Mexico City. Inspired by Baz Luhrmann's 1996 film Romeo + Juliet, the video is filled with gun violence. Halsey talked about the video's plot in a statement, saying: " is one part in the centre of a long narrative that tells the story of two people in love despite the forces trying to keep them apart. On its own, the song is about two impatient young lovers, but in the context of the Hopeless Fountain Kingdom universe, the stakes are much higher for these two star-crossed lovers". Halsey performed "Now or Never" live on Jimmy Fallon on May 4, 2017; that month she performed the song live at the 2017 Billboard Music Awards. In June 2017, she performed "Never" live on The Late Show with Stephen Colbert.
Digital download"Now or Never" – 3:34Digital download – R3hab Remix"Now or Never" – 3:04 Lyrics of this song at MetroLyrics
Live: Legend 1999 & 1997 Apocalypse is the second live video release by the Japanese heavy metal band Babymetal. The album contains live footage of two shows, entitled Legend "1999" and Legend "1997", performed in Japan in 2013, it was released in 2-disc DVD and Blu-ray formats on October 29, 2014. On February 2, 2013, Babymetal announced a show at NHK Hall on June 30, 2013, with tickets sold out immediately, on March 15, 2013. After the show, the band announced the show Legend "1997" set for December 21, 2013 at Makuhari Messe. About 8,000 people were present in the crowd for Legend "1997". Live: Legend 1999 & 1997 Apocalypse was first announced on August 16, 2014, with an official trailer released on September 11, 2014; the video was released on October 29, 2014, containing the two concerts, Legend "1999" Yuimetal & Moametal Seitansai, Legend "1997" Su-metal Seitansai, were released in standard DVD and Blu-ray editions, "Babymetal Apocalypse Web" fanclub exclusive "Babymetal Apocalypse Limited Box" editions additionally containing merchandise such as commemorative T-shirts and messages from the three members.
To commemorate the release, a digest of the shows was broadcast by Yunika Vision onto Tokyo Station and Seibu-Shinjuku Station from October 23, 2014 to November 2, 2014. Customers who purchased the album at Tower Records stores could receive merchandise, such as a collaborative poster for No Music, No Idol?, volume 70, announced prior on October 20, 2014. A promotion including a calendar card was made available with a purchase; the concert was performed on June 2013, in between the 14th birthdays of Mizuno and Kikuchi. 3,600 attended the show at NHK Hall. Notably and Kikuchi cover the Petitmoni song "Chokotto Love" and Morning Musume song "Love Machine", respectively; the songs are subtitled Big Time Changes and From Hell With Love and are named after albums released by heavy metal band Seikima-II. Additionally, Nakamoto debuts the power ballad "No Rain, No Rainbow", with Mizuno and Kikuchi appearing to play the piano together; the concert Legend "1997" begins with "Headbangeeeeerrrrr!!!!!", where Mizuno and Kikuchi begin on stage, while Nakamoto appears on a raised platform.
The performance debuts the song "Gimme Chocolate!!", as well as an unfinished arrangement of "Akatsuki". In the encore and Kikuchi join as Black Santa Claus, performing "Onedari Daisakusen", Nakamoto is crucified during the final song "Babymetal Death". Live: Legend 1999 & 1997 Apocalypse debuted on the Oricon daily DVD and Blu-ray charts, both at number four, on October 29, 2014, peaked at number eight and four on the Oricon weekly DVD and Blu-ray charts on the week of November 10, 2014; this marked the band's debut on the weekly DVD chart. The video peaked at number six and three in the music video sub-charts the same week. Credits adapted from Live: Legend 1999 & 1997 Apocalypse booklet. Su-metal – lead and background vocals, dance Yuimetal – lead and background vocals, dance Moametal – lead and background vocals, dance News - Babymetal official website Live: Legend 1999 & 1997 Apocalypse trailer on YouTube