This article is about the demographic features of the population of Anguilla, including population density, education level, health of the populace, economic status, religious affiliations and other aspects of the population. The estimated population of 2018 is 14,731. 72 % of the population is Anguillian. Of the non-Anguillian population, many are citizens of the United States, United Kingdom, St Kitts & Nevis, the Dominican Republic and Nigeria. 2006 and 2007 saw an influx of large numbers of Chinese and Mexican workers, brought in as labor for major tourist developments due to the local population not being large enough to support the labor requirements. English; the 2001 census found 11,329 were capable of carrying a conversation in English, 101 were not. 82 of those spoke Spanish as a first language, 7 spoke Chinese. The 2001 census found one heptalingual person, 13 pentalingual people, 35 quadralingual people, 173 trilingual people, 881 bilingual people The total numbers of speakers of each language were: Anguilla is predominantly Christian, with more than 85% identifying themselves with a denomination of Christianity.

The major denomination of Christianity in Anguilla as of the 2011 Census Anglicans with 22.7%. Other large Christian denominations are: 19.4% Methodist 10,5% Pentecostal 8.3% Seventh-Day Adventist 7.1% Baptist 6.8% Roman Catholic Migration has resulted in various other religions to make a presence in Anguilla, with 1.3% coming from the following religious groups: Hinduism in the West Indies

Sir John Albert Dellow is a retired British police officer. Dellow was born in London and educated at William Ellis School and the Royal Grammar School, High Wycombe. After leaving school, he worked for Shell and did his national service in the Royal Army Ordnance Corps, working in personnel selection. In 1951, he joined the City of London Police as a Constable. Rising to Chief Inspector and attending Bramshill Police College, he transferred to Kent County Constabulary as a Superintendent in 1966, he was promoted Chief Superintendent in 1968 and Assistant Chief Constable in 1969. In the same year, he became the first police officer to attend the Joint Services Staff College. In 1973, he transferred to the Metropolitan Police as Deputy Assistant Commissioner. In 1975, he became DAC, in 1978 he took over No.2 Area, in 1979 he became DAC. In this post, Dellow commanded the police operation in the Iranian Embassy Siege in 1980; that year he was appointed DAC. He was appointed Officer of the Order of the British Empire in the 1979 New Year Honours.

On 10 May 1982, he was appointed Assistant Commissioner "B". In 1982, he headed the review of Buckingham Palace security after an intruder, Michael Fagan, managed to get into the Queen's bedroom. In March 1984 he was transferred as Assistant Commissioner "C"; the reorganisation in 1985 meant he was the last officer to hold the post of Assistant Commissioner "C" and the first to hold the new post of Assistant Commissioner Specialist Operations. He was appointed Commander of the Order of the British Empire in 1985. In 1987, he was promoted to Deputy Commissioner, holding the post until his retirement in 1991, he was vice-president of the Association of Chief Police Officers from 1988 to 1989 and president from 1989 to 1990. He was knighted in the 1990 Birthday Honours. Biography, Who's Who "Siege chief to lead London's detectives", The Times, 6 March 1984

The Cambridge History of British Theatre is a non-fiction work consisting of three volumes in book form. It was published in 2004 by Cambridge University Press, it was published online in 2008 by Cambridge University Press. It is not an encyclopedia. Essay articles are in rough chronological order and have been compiled in the three volumes by various editors. Volume 1 covers the British theater from its Roman colony origins to 1660, when Charles II was about to be restored to the throne. Volume 2 covers a little over two centuries, beginning with Charles II's restoration in 1660, until the beginning of the twentieth century 1895.. Volume three covers the British theater from 1895. London theatre closure 1642 King's Men § Aftermath for the history of one company affected by the prohibition William Robbins an actor who lost his living, fought and died for the Royalist cause. Antitheatricality 16th and 17th century English Renaissance theatre Theatre of Scotland Official website The Cambridge History of British Theatre, Volume 3.

Google Books. Retrieved December 27, 2019. Free Preview available. Jane Milling; the Cambridge History of British Theatre. Cambridge University Press. P. 439. ISBN 978-0-521-65040-3. Jane Milling; the Cambridge History of British Theatre. Cambridge University Press. P. 459. ISBN 978-0-521-65040-3

C'est la Vie is the second album by Minneapolis alternative rock band Polara, their first for Interscope Records. The group was founded and led by musician and producer Ed Ackerson after the breakup of his previous band, the 27 Various, with guitarist Jennifer Jurgens, bassist Jason Orris, Trip Shakespeare's Matt Wilson on drums; the new group continued his interest in 1960s mod-rock and Syd Barrett-style psychedelia and added a heavy element of Krautrock-inspired electronics and keyboards. Critical acclaim for Polara's 1995 self-titled debut album led to a bidding war by several major labels; the album was recorded in 1996 in sporadic sessions in between tours. Though Ackerson produced most of C'est La Vie himself, the band worked with prominent producers Alan Moulder, Sean Slade, Paul Q. Kolderie on several tracks. Completing the album took longer than anticipated, so the band released an EP, Pantomime, in November 1996 before the full-length was ready the following April. Ackerson took a holistic approach to making music, viewing composition, performance and post-production all as steps in a single process of creating a song.

He told an interviewer in Guitar Player magazine, "It's all part of the same thing—amps, effects. You're playing it all." Ackerson believed that constant experimentation with new sounds was at the heart of his songwriting approach with Polara, which he stated "would never make the same record twice." In contrast to Polara, his intention on C'est la Vie was to play more straightforward rock. "The first album had no lead, and, deliberate. I was kind of politicized about it, but when we started to get this record together I realized that I am a rock guitar player, we felt like making a record more related to rock." The album was well-received by critics. Los Angeles Times pop-music critic Robert Hilburn called it "a work for all rock eras, a collection of exceptionally accessible tunes combining the memorable melodic hooks found in the best classic rock with the attitude and bite of the most polished'90s alternative rock" such as Smashing Pumpkins and Oasis. Alec Foege of Rolling Stone said that Polara was "one of the first indie bands to have computerization as second nature … seething with textured noise samples and programmed atmospheric squiggles."

He called the band's approach more than just a novelty, but "a genuine glimpse at mainstream rock's plausible near future." Trouser Press writer Ira Robbins described the record as similar in concept to Polara's previous album: "psychedelic distortion, wild sound for the hell of it, crossed with tuneful songwriting and innocently cryptic lyrics." Ned Raggett of Allmusic compared the album to Spiritualized and Oasis, called it "a over-the-top but still enjoyable hour's worth of songs." Ed Ackerson: Vocals, synthesizer, loops Jennifer Jurgens: Vocals, organ, sequencer Jason Orris: Bass, vocals Peter Anderson: Drums, percussion John Strohm: Other Erik Mathison: Snare on "Elasticity" Mastered by – Bob Ludwig, Brian Lee, Brian Dunton Produced by Ed Ackerson Recorded by Ed Ackerson and Jason Orris "Transformation" mixed by Alan Moulder, Matt Sime "Sort It Out," "Idle Hands" mixed by Paul Q. Kolderie, Sean Slade Recorded at Terrarium Studio, Minneapolis Mixed at The Church and Fort Apache Mastered at Gateway Mastering Studios and Fort Apache All tracks are written by Ed Ackerson

HMS Earnest was a B-class torpedo boat destroyer of the British Royal Navy, one of six to be built from the line. She was completed by Laird, Son & Company, after 609 days of construction, she was part of the new 30-knotters that were requested by the Admiralty, amid fears of foreign boats and their speeds the requirements were increased from 27 knots. Earnest was ordered on 23 December 1896 as the first of six 30-knotter destroyers programmed to be built by Lairds under the 1895–1896 shipbuilding programme for the Royal Navy; these followed on from four similar destroyers ordered from Lairds as part of the 1894–1895 programme. Earnest was 218 feet long overall and 213 feet between perpendiculars, with a beam of 21 feet 6 inches and a draught of 9 feet 9 inches. Displacement was 415 long tons full load. Like the other Laird-built 30-knotters, Locust was propelled by two triple expansion steam engines, fed by four Normand boilers, rated at 6,300 ihp, was fitted with four funnels. Armament was the standard for the 30-knotters, i.e. a QF 12 pounder 12 cwt gun on a platform on the ship's conning tower, with a secondary armament of five 6-pounder guns, two 18-inch torpedo tubes.

The ship had a crew of men. Earnest was laid down at Laird's Birkenhead shipyard as Yard number 621 on 2 March 1896 and was launched on 7 November 1896. Earnest reached 30.13 knots during sea trials. She was completed in November 1897. In 1897 Earnest was in reserve at Devonport, she was transferred to the Mediterranean Squadron in September 1898, was in August 1901 recommissioned at Malta as tender to the battleship HMS Caesar. Lieutenant Philip Agnew Bateman-Champain was in command from November 1901, she visited Greek waters in September 1902. Earnest returned to Home waters in 1907. Earnest was a member of the Eastern group of destroyers based at Harwich in 1908, entering refit at Chatham Dockyard in September that year. In February 1910, Earnest, by now a member of the Nore Destroyer Flotilla, was again under refit at Chatham. Brassey, T. A.. The Naval Annual 1902. Portsmouth, UK: J. Griffin and Co. Chesneau, Roger. Conway's All The World's Fighting Ships 1860–1905. London: Conway Maritime Press. ISBN 0-85177-133-5.

Friedman, Norman. British Destroyers: From Earliest Days to the Second World War. Barnsley, UK: Seaforth Publishing. ISBN 978-1-84832-049-9. Gardiner, Robert. Conway's All The World's Fighting Ships 1906–1921. London: Conway Maritime Press. ISBN 0-85177-245-5. Lyon, David; the First Destroyers. London: Caxton Editions. ISBN 1-84067-3648. Manning, T. D.. The British Destroyer. London: Putnam

Bloodsucking Fiends: A Love Story is a novel by American writer Christopher Moore, published in 1995. It combines elements of the supernatural and of the romance novel. Jody, a young, red-headed woman living in San Francisco, is attacked by a vampire and soon finds that she has become one herself. While attempting to adjust to her new nocturnal lifestyle, she finds the help of Tommy Flood, a wannabe writer who moved to the city and works as a night stocking manager at a local Safeway, she has him perform tasks during the day as her vampirism forces her unconscious except after sundown. As Jody and Tommy begin their life together and begin falling in love, they discover that a recent string of mysterious murders may be the work of the vampire who attacked Jody. To get to the bottom of the matter, they recruit "the Animals", Tommy's crew of stockers from the supermarket, as well as an eccentric street person and his faithful dogs known as "The Emperor." Bloodsucking Fiends is the first volume of a trilogy, followed by You Suck: A Love Story and Bite Me.

Author's webpage for Bloodsucking Fiends Review by Tom Knapp