The Dewey Decimal Classification, colloquially the Dewey Decimal System, is a proprietary library classification system first published in the United States by Melvil Dewey in 1876. Described in a four-page pamphlet, it has been expanded to multiple volumes and revised through 23 major editions, the latest printed in 2011, it is available in an abridged version suitable for smaller libraries. OCLC, a non-profit cooperative that serves libraries maintains the system and licenses online access to WebDewey, a continuously updated version for catalogers; the Decimal Classification introduced the concepts of relative location and relative index which allow new books to be added to a library in their appropriate location based on subject. Libraries had given books permanent shelf locations that were related to the order of acquisition rather than topic; the classification's notation makes use of three-digit Arabic numerals for main classes, with fractional decimals allowing expansion for further detail.

Using Arabic numerals for symbols, it is flexible to the degree that numbers can be expanded in linear fashion to cover special aspects of general subjects. A library assigns a classification number that unambiguously locates a particular volume in a position relative to other books in the library, on the basis of its subject; the number makes it possible to find any book and to return it to its proper place on the library shelves. The classification system is used in 200,000 libraries in at least 135 countries. Melvil Dewey was self-declared reformer, he was a founding member of the American Library Association and can be credited with the promotion of card systems in libraries and business. He developed the ideas for his library classification system in 1873 while working at Amherst College library, he applied the classification to the books in that library, until in 1876 he had a first version of the classification. In 1876, he published the classification in pamphlet form with the title A Classification and Subject Index for Cataloguing and Arranging the Books and Pamphlets of a Library.

He used the pamphlet, published in more than one version during the year, to solicit comments from other librarians. It is not known who received copies or how many commented as only one copy with comments has survived, that of Ernest Cushing Richardson, his classification system was mentioned in an article in the first issue of the Library Journal and in an article by Dewey in the Department of Education publication "Public Libraries in America" in 1876. In March 1876, he applied for, received copyright on the first edition of the index; the edition was 44 pages in length, with 2,000 index entries, was printed in 200 copies. The second edition of the Dewey Decimal system, published in 1885 with the title Decimal Classification and Relativ Index for arranging and indexing public and private libraries and for pamflets, notes, scrap books, index rerums, etc. comprised 314 pages, with 10,000 index entries. Five hundred copies were produced. Editions 3–14, published between 1888 and 1942, used a variant of this same title.

Dewey modified and expanded his system for the second edition. In an introduction to that edition Dewey states that "nearly 100 persons hav contributed criticisms and suggestions". One of the innovations of the Dewey Decimal system was that of positioning books on the shelves in relation to other books on similar topics; when the system was first introduced, most libraries in the US used fixed positioning: each book was assigned a permanent shelf position based on the book's height and date of acquisition. Library stacks were closed to all but the most privileged patrons, so shelf browsing was not considered of importance; the use of the Dewey Decimal system increased during the early 20th century as librarians were convinced of the advantages of relative positioning and of open shelf access for patrons. New editions were readied as supplies of published editions were exhausted though some editions provided little change from the previous, as they were needed to fulfill demand. In the next decade, three editions followed on: the 3rd, 4th, 5th.

Editions 6 through 11 were published from 1899 to 1922. The 6th edition was published in a record 7,600 copies, although subsequent editions were much lower. During this time, the size of the volume grew, edition 12 swelled to 1243 pages, an increase of 25% over the previous edition. In response to the needs of smaller libraries which were finding the expanded classification schedules difficult to use, in 1894, the first abridged edition of the Dewey Decimal system was produced; the abridged edition parallels the full edition, has been developed for most full editions since that date. By popular request, in 1930, the Library of Congress began to print Dewey Classification numbers on nearly all of its cards, thus making the system available to all libraries making use of the Library of Congress card sets. Dewey's was not the only library classification available. Charles Ammi Cutter published the Expansive Classification in 1882, with initial encouragement from Melvil Dewey. Cutter's system was not adopted by many libraries, with one major exception: it was used as the basis for the Library of Congress Classification system.

In 1895, the International Institute of Bibliography, located in Belgium and led by Paul Otlet, contacted Dewey about the possibility of translating the classification into French, using the classification system for bibliographies. This would have

Robert Nelson was an American economist, professor of environmental policy in the University of Maryland School of Public Policy and a senior fellow of the Independent Institute. He authored over edited book chapters, as well as nine books. Nelson was a nationally recognized authority in areas including the management of public land and zoning in the United States, but is best known for his books about the relationship between economics and Christianity. In a review of Economics As Religion: From Samuelson to Chicago and Beyond, economist Robert Tollison wrote that "Nelson's basic thesis is that economics is more like a religion than a science. In fact, he argues that economics in the twentieth century has supplanted organized religion with a creed of material progress." Economist David Colander described Reaching for Heaven on Earth: The Theological Meaning of Economics as arguing that "the economics profession is the priesthood of a powerful secular religion." Nelson's book The New Holy Wars: Economic Religion versus Environmental Religion was silver medal winner in the “Finance, Economics” category of the 2010 Independent Publisher Book Awards.

The Use and Management of Federal Coal God? Probably: Five Rational Ways to Think about the Question of a God ISBN 978-1498223751 The New Holy Wars: Economic Religion versus Environmental Religion in Contemporary America ISBN 978-0271035826 Private Neighborhoods and the Transformation of Local Government ISBN 978-0877667513 Economics as Religion: From Samuelson to Chicago and Beyond ISBN 978-0271022840 A Burning Issue: A Case for Abolishing the U. S. Forest Service ISBN 978-0847697359 Public Lands and Private Rights: The Failure of Scientific Management ISBN 978-0847680092 Reaching for Heaven on Earth: The Theological Meaning of Economics ISBN 978-0822630241 The Making of Federal Coal Policy ISBN 978-0822304975 Zoning and Property Rights ISBN 978-0262640190

Xenomania is an English songwriting and production team founded by Brian Higgins and based in Kent, England. Formed after Higgins met Miranda Cooper, Xenomania has written and produced for renowned artists such as Cher, Kylie Minogue, Dannii Minogue, Sophie Ellis-Bextor, Pet Shop Boys, The Saturdays and the Sugababes. In particular, all but one of Girls Aloud's studio albums have been written and produced by Xenomania. Sugababes' "Round Round" and Girls Aloud's "Sound of the Underground" have been credited with reshaping British pop music for the 2000s. Gabriella Cilmi's "Sweet About Me" and Girls Aloud's "The Promise" were named Best Single at the ARIA Music Awards of 2008 and the 2009 BRIT Awards, respectively; the team has been referred to as "a Phil Spector" and "a Motown of the 21st-century". Higgins himself has said. Of Higgins and Xenomania, Girls Aloud's former manager Louis Walsh says, "He just makes great songs for radio, they just jump out at you and stay in your brain." There are wide influences present in their productions, including electronic, glam rock, Motown soul and more traditional pop music.

The name "Xenomania" means, according to Higgins, "the exact opposite of Xenophobia a love of everything, of all cultures." Current members of the Xenomania writing and production team are Cooper. Long term members Tim Powell and Nick Coler left in 2010. Xenomania includes a house band who work on potential songs. French remixer Fred Falke frequently works with Xenomania. Xenomania started a "record label" of the same name in 2008, developing artists and working on material before looking for major label deals. Artists include Alex Gardner, Jessie Malakouti, Brooke X, Mini Viva, Vagabond. Brian Higgins found early success after producing Australian singer Dannii Minogue's third album, which gained favourable reviews at the time but failed to enter the British Top 40. However, the success of the lead single, "All I Wanna Do", led to a collaboration with American singer Cher and Higgins co-writing her international number-one hit single "Believe". Although the song outperformed all expectations and won him three Ivor Novello awards, Higgins found himself without a label when London Records was sold in 2000.

After eighteen months, he decided to found Xenomania as an independent production company based in Westerham in Kent, outside London, because it is "somewhere where concentration would be easy no one'pops' in."Higgins met Miranda Cooper at the 1996 Eurovision Song Contest when she was a backing dancer for Gina G, while Matt Gray had started his musical career in the 1980s, writing music for the Commodore 64 home computer. Nick Coler programmed The KLF's singles and Tim Powell started out in 1989 "doing hardcore rave stuff". Higgins attempted to launch Cooper as a solo artist under the stage name Moonbaby but failed to find success. "That's", according to Cooper. "I'd had writer's block for myself, but as soon as it was for somebody else all these songs popped out." Moonbaby's "Here We Go" would be recorded by both Lene Nystrøm Rasted and Girls Aloud. Higgins says, "We developed this sound of electronics and guitars fusing together but this was in the late Nineties when R'n'B lite dominated pop music and we had to wait for our opening."

When British girl group Sugababes were dropped by London Records, they recorded "Round Round" with Xenomania, which Higgins says was "fusing electronics and guitars and tempo changes and melody shifts, so that the chorus was the only repetitive melody whereas traditional pop structure repeats verse melodies." The song would become a UK number-one single for Sugababes in 2002. Higgins praised Sugababes for the "crucial role" in Xenomania's subsequent success—"To me they represented something superior to what was out there; as a result, the Sugababes undoubtedly brought the best out of us as we always felt under pressure to produce results that would do justice to their voices and overall talent."Xenomania were approached to create the debut single for a girl group formed through the television talent show Popstars: The Rivals. The eventual winners, Girls Aloud, recorded "Sound of the Underground", one of sixty songs that Higgins and Cooper had written with the aim of launching their own girl group.

Higgins said Girls Aloud were "a blueprint for a girl group that we'd had in our minds for ages, one, individual rather than generic, with a sound that blurs the edges between pop and indie. We know that people aren't interested in pop music as it was." "Sound of the Underground" received critical acclaim, with The Guardian exclaiming it "proved a first: it was a reality pop record that didn't make you want to do physical harm to everyone involved in its manufacture." The song was the Christmas number-one of 2002, selling just over 213,000 copies in its first week of release. The single spent four consecutive weeks at number one, achieving a platinum certification from the British Phonographic Industry. "Round Round" and "Sound of the Underground" have been called "two huge groundbreaking hits", credited with reshaping British pop music for the 2000s. The Telegraph placed the latter song at number 15 on a list of 100 songs that defined the 2000s, while NME included it at number 39. In 2003, Xenomania wrote and produced "No Good Advice" for Girls Aloud, which reflected his general mood of failure after the deal between Xenomania and London Records fell through.

It was said that "Higgins injects an element of instant-catchy-cool to the songs without going overboard in trying to shape uber-chic dance floor hits." That year, they produced the sin