Larimer County is one of the 64 counties in the U. S. state of Colorado. As of the 2010 census, the population was 299,630; the county seat and most populous city is Fort Collins. The county was named for Jr. the founder of Denver. Larimer County comprises CO Metropolitan Statistical Area; the county is located at the northern end of the Front Range, at the edge of the Colorado Eastern Plains along the border with Wyoming. Larimer County was created in 1861, was named after General William Larimer. Unlike that of much of Colorado, founded on the mining of gold and silver, the settlement of Larimer County was based entirely on agriculture, an industry that few thought possible in the region during the initial days of the Colorado Gold Rush; the mining boom entirely passed the county by. It would take the introduction of irrigation to the region in the 1860s to bring the first widespread settlement to the area. At the time of the arrival of Europeans in the early 19th century, the present-day county was occupied by Native Americans, with the Utes occupying the mountainous areas and the Cheyenne and Arapaho living on the piedmont areas along the base of the foothills.

French fur trappers infiltrated the area in the early decades of the 19th century, soon after the area became part of the United States with the Louisiana Purchase and was organized as part of the Missouri Territory. In 1828 William H. Ashley ascended the Cache la Poudre River on his way to the Green River in present-day Utah; the river itself received its name in the middle 1830s from an obscure incident in which French-speaking trappers hid gunpowder along its banks, somewhere near present-day Laporte or Bellvue. In 1848 a group of Cherokee crossed through the county following the North Fork of the Poudre to the Laramie Plains on their way to California along a route that became known as the Cherokee Trail; the area of county was opened to white settlement following negotiations with the Cheyenne and Arapaho in the 1858 Treaty of Fort Laramie, by which time the area was part of the Nebraska Territory. The first U. S. settlers arrived. Janis, who had visited the area near Bellvue in 1844 and proclaimed it "the most beautiful place on earth", returned to file his official claim and helped found the first U.

S. settlement in present-day Colorado, called Colona, just west of Laporte. Nearly Mariano Medina established Fort Namaqua along the Big Thompson River just west of present-day Loveland; the first irrigation canals were established along the Poudre in the 1860s. In 1862 the settlement established by Janis became a stagecoach stop along the Overland Stage Route, established because of threats of attacks from Native Americans on the northern trails in Wyoming. In 1861, Laporte was designated as the first county seat after the organization of the Colorado Territory. In 1862, the United States Army established an outpost near Laporte, designated as Camp Collins. A devastating flood in June 1864 wiped out the outpost. At the urging of Joseph Mason, who had settled along the Poudre in 1860, the Army relocated its post downstream adjacent to Mason's land along the Overland stage route; the site of the new post became the nucleus of the town of Fort Collins, incorporated in 1873 after the withdrawal of the Army.

By that time and others had convinced the Colorado Territorial Legislature to designate the new town as the county seat. In 1870, the legislature designated Fort Collins as the location of the state agricultural college, although the institution would exist only on paper for another 9 years while local residents sought money to construct the first campus buildings. In 1873, Robert A. Cameron and other members of the Greeley Colony established the Fort Collins Agricultural Colony, which expanded the grid plan and population of Fort Collins. One of the primary goals of the early citizens of the county was the courting of railroads. County residents were disappointed when the Denver Pacific Railroad bypassed the county in 1870 in favor of Greeley; the first railroad arrived in the county in 1877 when the Colorado Central Railroad extended a line north from Golden via Longmont to Cheyenne. The town council of Fort Collins designated right-of-way through the center of town for the line, creating a contentious issue to this day.

Along the new railroad sprung up the new platted towns of Loveland and Berthoud, named after the president and chief surveyor of the Colorado Central. Wellington was named for a railroad employee; the Greeley, Salt Lake and Pacific Railroad arrived three years as a subsidiary of the Union Pacific Railroad, with the intention of creating a transcontinental line over Cameron Pass. Although the line was never extended over the mountains, it opened up the quarrying of stone for the railroad at Stout, furnishing another industry for the region; the brief attempt at the mining of gold in the region centered at the now ghost town of Manhattan in the Poudre Canyon. The early growth of agriculture, which depended on direct river irrigation, experienced a second boom in 1902 with the introduction of the cultivation of sugar beets, accompanied by the construction of the large processing plant of the Great Western Sugar Co. in Loveland. In the following decade, the sugar beet industry brought large numbers of German emigrants from the Russian Empire to the county.

The neighborhoods of Fort Collins northeast of the Poudre were constructed to house these new families. A significant increase in the agricultural productivity of the region came in

Sir Henry Ellis was an English librarian and antiquarian, for a long period principal librarian at the British Museum. Born in London, Henry Ellis was educated at the Mercers' School, at Merchant Taylors' School, where his brother, the Rev. John Joseph Ellis, was assistant-master for forty years. Having gained one of the Merchant Taylors' exhibitions at St John's College, Oxford, he matriculated in 1796. In 1798, through his friend John Price, Ellis was appointed one of the two assistants in the Bodleian Library, the other being his future colleague in the British Museum Henry Hervey Baber, he took the degree of B. C. L. in 1802. He was a Fellow of St John's till 1805. In 1800 he was appointed a temporary assistant in the library of the British Museum, in 1805 he became assistant-keeper of printed books under William Beloe; the theft of prints which cost Beloe his appointment in the following year raised Ellis to the headship of the department, Baber became his assistant. Ellis's promotion coincided with a period of increased activity at the museum.

The printed catalogue of the library was at that time comprised in two folio volumes, full of inaccuracies, but provided with a manuscript supplement, to a considerable extent revised and corrected in manuscript by Beloe's predecessor Samuel Harper. Ellis and Baber commenced their work of reconstruction in March 1807, completed it in December 1819. Ellis had meanwhile been moved to the manuscripts department, accepted the almost sinecure office of secretary to the museum, in the same year became secretary to the Society of Antiquaries of London. During the forty years for which he held the post, he only missed two meetings, he was elected a Fellow of the Royal Society in May 1811. In 1827 Joseph Planta, the principal librarian and Ellis, who had for nine years taken on much of his duties, expected to succeed him; when two names for the vacancy were submitted to the Crown, Henry Fynes Clinton, a protégé of Archbishop Charles Manners-Sutton, was placed before Ellis. Ellis intrigued for the post, it is said by pursuing the carriage of the royal physician, Sir William Knighton, enlisting his good offices with the king.

He was appointed on 20 December 1827. In 1832 he was made a Knight of Hanover, an honour which he shared with John Herschel, Frederic Madden, others; the museum was at a low ebb in the 1830s. William Cobbett campaigned against it, Benjamin Hawes used a complaint from an ex-employee as a pretext to set up a parliamentary enquiry. Ellis told the parliamentary committee of 1835 that if the museum were not closed for three weeks in the autumn, "the place would positively become unwholesome", that it would never do to open it on Saturdays, when "the most mischievous part of the population was abroad"; the committee's conclusions were enough to force the trustees to change management practices. They devolved the heaviest of the principal librarian's duties on the secretary, who became the most important officer in the museum. Josiah Forshall took on the position of secretary in 1837, who took control, with Madden and Anthony Panizzi under him. Ellis, though unconscious of any change in his position, was superseded as chief officer.

Ellis shared the secretary position at the Society of Antiquaries from 1848 with John Yonge Akerman, who took over in 1853. He was director of the Society from 1853 to 1857. Excellent health and the absence of any machinery for compulsory retirement kept Ellis at his post until February 1856, when he resigned on a pension, lived thirteen years more close to the museum, he died at his house in Bedford Square on 15 January 1869. In 1798 Ellis published at the age of twenty-one his History of St. Leonard's, Liberty of Norton Folgate; as an antiquarian, his contributions to Archaeologia were numerous. In 1813 he edited a work going back to Henry Bourne, his catalogue of the manuscripts of the Society of Antiquaries was published in 1816. In that year he published on behalf of the Record Commission the indexes and additional texts to Domesday Book: his general introduction to Domesday, written in 1813 appeared in separate form in 1833. With John Caley and others, he published a new edition of William Dugdale's Monasticon between 1817 and 1833.

He used his position as head of the manuscript department to publish Original Letters illustrative of English History drawn from originals in the Museum: three series of this collection appeared, in 1824, 1827, 1846 the first in three volumes, the others each in four. He drew up, as secretary, guides to the departments of the British Museum. Ellis completed portions of the British Museum catalogue, from A to F and from P to R inclusive, Baber doing all the rest, he was assisted by Thomas Dampier. For Rees's Cyclopædia, Ellis contributed articles on Antiquities and other subjects, but the topics are not known. "Archival material relating to Henry Ellis". UK National Archives

Mediocre is the Grammy Award and Latin Grammy nominated debut album of Mexican singer and actress Ximena Sariñana, released in the United States on July 15, 2008. Mediocre reached #10 on Billboard's Latin Pop Albums, spawned the hit single "Vidas Paralelas"; the album gained additional attention when the iTunes Store featured Sariñana's song "Normal" as the canción de la semana — iTunes' free Latino song of the week — during the week of July 8, 2008. Mediocre garnered good reviews from many critics, receiving five stars from SoMinty, four stars from Time Out, four stars from Rolling Stone magazine. Many critics praise Mediocre for being an eclectic album with a diverse style of songs featuring pop, rock and nueva canción styles. Sariñana clarified that "Mediocre", means to denounce mediocrity and conformity, she explained in an interview, "This whole idea of the perfect woman of the ‘50s is what the title song is about... There was no possibility of being something different, that, in turn, created a prototype of a woman, mediocre."The album artwork for Mediocre meant to emulate the theme of mediocrity.

Sariñana elaborated, "The cover is a take on the idea that women in the ‘40s and ‘50s had to be ‘perfect.’ Perfect hair, perfect clothes and making perfect meals and embroidering perfectly. And they were all perfect in the same, uninteresting way so that ended up making them all mediocre; that was the idea." Sariñana stressed that she did not intend to produce mediocre content for the album: "It’s not to say that the material is mediocre, but rather that it’s a message of irony, I think the public gets that, but there are some people out there who like to poke fun at the title." Recording commenced in Buenos Aires, Argentina, in May 2007 and finished in August 2007. Various studio musicians were brought in for the recording of Mediocre. Bruno Bressa, the drummer of Volován, helped in the production process of the album, played the keyboard and tabla for its tracks. Argentine producer Tweety González and Uruguayan producer Juan Campodónico produced the album in 2008. Mediocre showcases rock and hip-hop influences.

Jimmy Draper of Time Out New York describes the musical style as "full of buoyant, jazz-inflected pop with occasional electronic underpinnings and outbursts of rock". The album opens with "Mediocre", a rock-influenced track, leading to the pop single "Vidas Paralelas". Sariñana relies upon the piano in the pop track "Normal", which features brass and vocal harmonies. "La Tina" displays a hip-hop influence through its use of electronic beats. "No Vuelvo Más" features Sariñana's use of additional vocal harmonies, as well as acoustic guitars. Ron Bronson of SoMinty points out that "Un Error" and "Sintiendo Rara" are slower songs reminiscent of Sariñana's interest in jazz. Lissette Corsa of Orlando Weekly points out. Corsa praises Mediocre, calling it a "deftly crafted alt-pop record", but notes that "it’s the electronic embellishments, dub effects and jazz trimmings—in the form of loose piano lines, subtle tempo changes and vocal improvisations—that make it unique." Corsa praises Sariñana, whose "lyrics exhibit a remarkable depth for someone her age", saying Sariñana has "a keen understanding of composition and melodic structure".

Since Mediocre incorporates many different styles of music, the exact genre of the album is disputed. Allmusic classifies Mediocre as a pop/rock album with adult alternative pop/rock stylings. However, the iTunes Store classifies Mediocre as an alternativo album to accentuate its Latin American style as well as its alternative style. SoMinty classifies Mediocre as an indie pop album, Rhapsody categorizes Mediocre as nueva canción, or "new song". Criticism of Mediocre has been positive, many critics acclaim the album; the Rolling Stone staff rated Mediocre four stars, Rolling Stone's average viewer rating is four and a half stars. Mark Kemp, a music journalist from Rolling Stone, called Mediocre one of the strongest debuts from a female singer-songwriter since Norah Jones' Come Away with Me, exclaiming "There's sultry torch songs, folky ballads, smart rock — and not a bum track among them." Ron Bronson, a music journalist from the website SoMinty, awarded Mediocre five stars. He describes Sariñana's voice on Mediocre as being "something along the lines of Nellie McKay meets countryman Julieta Venegas meets Sia. original, in other words.

Original.... If you have any real desire to listen to music en español, you'll be hard pressed to find a better singer on the indie scene these days. Ximena has got chops, folks." Ernesto Sánchez of People en Español labeled Mediocre "one of the most promising Latin Music albums of ". Eric Danton of The Hartford Courant pointed out that "her prospects in the United States are less predictable thanks to a fragmented radio landscape and what for many English-speaking listeners is a language barrier." Sariñana was nominated for two awards at the Latin Grammy Awards of 2008 for Mejor Nuevo Artista and Mejor Canción Alternativa for her single "Normal". Sariñana won an award at the MTV Latin America Awards 2008 for Artista Revelación. On December 4, 2008 this album received a Grammy Award nomination for Best Latin Rock/Alternative Album. Data for composers compiled from Allmusic. Fields with an em dash are not applicable. All tracks in bold have been released as singles ^a "La Tina" was remixed by Metronomy in 2008 and released as a single.

^b Originally performed by Erik Couts ^c Originally performed by the Urugu