title: Early Roman army

abstract: The early Roman army was deployed by ancient Rome during its Regal Era and into the early Republic around 300 BC, when the so-called "Polybian" or manipular legion was introduced. Until c. 550 BC, there was probably no "national" Roman army, but a series of clan-based war-bands, which only coalesced into a united force in periods of serious external threat. Around 550 BC, during the period conventionally known as the rule of King Servius Tullius, it appears that a universal levy of eligible adult male citizens was instituted. This development apparently coincided with the introduction of heavy armour for most of the infantry. The early Roman army was based on a compulsory levy from adult male citizens that was held at the start of each campaigning season, in those years that war was declared. There were probably no standing or professional forces. During the Regal Era, the standard levy was probably of 9,000 men, consisting of 6,000 heavily armed infantry, plus 2,400 light-armed infantry and 600 light cavalry. When the kings were replaced by two annually-elected Consuls in c. 500 BC, the standard levy remained of the same size, but was now divided equally between the Consuls, each commanding one legion of 4,500 men. It is likely that the hoplite element was deployed in a Greek-style phalanx formation in large set-piece battles. However, these were relatively rare, with most fighting consisting of small-scale border-raids and skirmishing. In these, the Romans would fight in their basic tactical unit, the centuria of 100 men. In addition, clan-based forces remained in existence until at least c. 450 BC, although they would operate under the Consuls' authority, at least nominally. In 493 BC, shortly after the establishment of the Roman Republic, Rome concluded a perpetual treaty of military alliance, with the combined other Latin city-states. The treaty, probably motivated by the need for the Latins to deploy a united defence against incursions by neighbouring hill-tribes, provided for each party to provide an equal force for campaigns under unified command. It remained in force until 358 BC.

text:
# Early Roman army

The **early Roman army** was deployed by ancient Rome during its Regal Era and into the early Republic around 300 BC, when the so-called "Polybian" or manipular legion was introduced.

Until c. 550 BC, there was probably no "national" Roman army, but a series of clan-based war-bands, which only coalesced into a united force in periods of serious external threat. Around 550 BC, during the period conventionally known as the rule of King Servius Tullius, it appears that a universal levy of eligible adult male citizens was instituted. This development apparently coincided with the introduction of heavy armour for most of the infantry.

The early Roman army was based on a compulsory levy from adult male citizens that was held at the start of each campaigning season, in those years that war was declared. There were probably no standing or professional forces. During the Regal Era (to c. 500 BC), the standard levy was probably of 9,000 men, consisting of 6,000 heavily armed infantry (probably Greek-style hoplites), plus 2,400 light-armed infantry (*rorarii*, later called *velites*) and 600 light cavalry (*equites celeres*). When the kings were replaced by two annually-elected Consuls in c. 500 BC, the standard levy remained of the same size, but was now divided equally between the Consuls, each commanding one legion of 4,500 men.

It is likely that the hoplite element was deployed in a Greek-style phalanx formation in large set-piece battles. However, these were relatively rare, with most fighting consisting of small-scale border-raids and skirmishing. In these, the Romans would fight in their basic tactical unit, the *centuria* of 100 men. In addition, clan-based forces remained in existence until at least c. 450 BC, although they would operate under the Consuls' authority, at least nominally.

In 493 BC, shortly after the establishment of the Roman Republic, Rome concluded a perpetual treaty of military alliance (the *Foedus Cassianum*), with the combined other Latin city-states. The treaty, probably motivated by the need for the Latins to deploy a united defence against incursions by neighbouring hill-tribes, provided for each party to provide an equal force for campaigns under unified command. It remained in force until 358 BC.

## Background: early Rome (to 338 BC)

### Socio-political developments

According to Roman legend, Rome was founded by Romulus in 753 BC. However, the vast amount of archaeological evidence uncovered since the 1970s suggests that Rome did not assume the characteristics of a united city-state (as opposed to a group of separate hilltop settlements) before around 625 BC. The same evidence has also conclusively discredited A. Alfoldi's once-fashionable theory that Rome was an insignificant settlement until c. 500 BC (and that, consequently, the Republic was not established before c. 450 BC). There is now no doubt that Rome was a major city in the period 625–500 BC, when it had an area of c. 285 hectares and an estimated population of 35,000. This made it the second-largest in Italy (after Tarentum) and about half the size of contemporary Athens (585 hectares, inc. Piraeus).

Few scholars today dispute that Rome was ruled by kings in its archaic period, although whether any of the seven names of kings preserved by tradition are historical remains uncertain (Romulus himself is generally regarded as mythical). It is also likely that there were several more kings than those preserved by tradition, given the long duration of the regal era (even if it did start in 625 rather than 753 BC). The Roman monarchy, although an autocracy, did not resemble a medieval monarchy. It was not hereditary and based on "divine right", but elective and subject to the ultimate sovereignty of the people. The king (*rex*, from root-verb *regere*, literally means simply "ruler") was elected for life by the people's assembly (the *comitia curiata* originally) although there is strong evidence that the process was in practice controlled by the patricians, a hereditary aristocratic caste. Most kings were non-Romans brought in from abroad, doubtless as a neutral figure who could be seen as above patrician factions (somewhat like the podestà in medieval Italian cities). Although a king's blood-relations could succeed him, they were still required to submit to election. The position and powers of a Roman king were thus similar to those of Julius Caesar when he was appointed dictator-for-life in 44 BC and indeed of the succeeding Roman emperors.

According to Roman tradition, in 616 BC, an Etruscan named Lucumo, from the town of Tarquinii, was elected king of Rome as Lucius Tarquinius I. He was succeeded by his son-in-law, Servius Tullius, and then by his son, Lucius Tarquinius II. The establishment of this "dynasty" of Etruscan origin has led some dated historians to claim that late regal Rome was occupied by troops from Tarquinii militarily and culturally Etruscanised. But this theory has been dismissed as a myth by Cornell and other more modern historians, who point to the extensive evidence that Rome remained politically independent, as well as linguistically and culturally a Latin city. In relation to the army, the Cornell faction argue that the introduction of heavy infantry in the late regal era followed Greek, not Etruscan, models.

It seems certain that the monarchy was overthrown in c. 500 BC and replaced by some form of collegiate rule. It is likely that the revolution that overthrew the Roman monarchy was engineered by the patrician caste and that its aim was not, as rationalised later by ancient authors, the establishment of a democracy, but of a patrician-dominated oligarchy. The proverbial "arrogance" and "tyranny" of the Tarquins, epitomised by the rape of Lucretia incident, is probably a reflection of the patricians' fear of the Tarquins' growing power and their erosion of patrician privilege, most likely by drawing support from the plebeians (commoners). To ensure patrician supremacy, the autocratic power of the kings had to be fragmented and permanently curtailed. Thus the replacement of a single ruler by a collegiate administration, which soon evolved into two *praetores* (Praetors, renamed Consuls in 305 BC), with equal powers and limited terms of office (one year, instead of the life tenancy of the kings). In addition, power was further fragmented by the establishment of further collegiate offices, known to history as Roman magistrates: three aediles and four quaestors. Patrician supremacy was assured by restricting the eligibility to hold the Republican offices to just patricians.

The establishment of a hereditary oligarchy obviously excluded wealthy non-patricians from political power and it is this class that led plebeian opposition to the early Republican settlement. The early Republic (510–338 BC) saw a long and often bitter struggle for political equality, known as the Conflict of the Orders, against the patrician monopoly of power. The plebeian leadership had the advantage that they represented the vast majority of the population and of their own growing wealth. By 338 BC, the privileges of the patricians had become largely ceremonial (such as the exclusive right to hold certain state priesthoods). But this does not imply a more democratic form of government. The wealthy plebeians who had led the "plebeian revolution" had no more intention of sharing real power with their poorer and far more numerous fellow-plebeians than did the patricians. It was probably at this time (around 300 BC) that the population was divided, for the purposes of taxation and military service, into seven classes based on an assessment of their property. The two top classes, numerically the smallest, accorded themselves an absolute majority of the votes in the main electoral and legislative assembly. Oligarchy based on birth had been replaced by oligarchy based on wealth.

### External relations

It appears likely that Rome in the period 550–500 BC, conventionally known as the period that it was ruled by the Tarquin dynasty, established its hegemony over the other Latin city-states of Old Latium, which may have been required to pay tribute. The fall of the Roman monarchy was followed by a war with the Latins, who probably took advantage of the political turmoil in Rome to attempt to regain their independence. The Romans apparently prevailed, scoring a notable victory over the Latin forces at Lake Regillus sometime between 499 and 493 BC.

But instead of restoring their previous hegemony, the Romans settled for a military alliance on apparently equal terms with the Latins. According to the sources, the *foedus Cassianum* was a bilateral treaty between the Romans and the Latin city-states. The impetus to form such an alliance was probably provided by the acute insecurity caused by a phase of migration and invasion of the lowland areas by Italic tribes occupying the mountains surrounding Old Latium, notably the Aequi and Volsci, in the period after 500 BC.

The new Romano-Latin military alliance proved strong enough to repel the incursions of the Italic mountain tribes, but it was a very tough struggle. Intermittent wars, with mixed fortunes, continued until c. 395 BC. The Sabines disappear from the record in 449 BC (presumably subjugated by the Romans), while campaigns against the Aequi and Volsci seem to have reached a turning point with the major Roman victory on Mount Algidus in 431 BC. In the same period, the Romans fought three wars against their nearest neighbouring Etruscan city-state, Veii, finally reducing the city in 396 BC, probably increasing the *ager Romanus* (Roman territory) by c. 65%.

At this juncture, Rome was crushed by an invasion of central Italy by the Gallic Senones tribe. Routed in the Battle of the River Allia in 386 BC, the Roman army fled to Veii, leaving their city at the mercy of the Gauls, who proceeded to ransack it and then demand a huge ransom in gold to leave. The effects of this disaster on Roman power are a matter of controversy between scholars. The ancient authors emphasize the catastrophic nature of the damage, claiming that it took a long time for Rome to recover. Cornell, however, argues that the ancients greatly exaggerated the effects and cites the lack of archaeological evidence for major destruction and the building of the so-called "Servian" Wall as evidence that Rome recovered swiftly. The wall, whose 11 km-circuit enclosed 427 hectares (an increase of 50% over the Tarquinian city) was a massive project that would have required an estimated five million man-hours to complete, implying plentiful financial and labour resources. Against this, Eckstein argues that the history of Rome in the fifty years subsequent to 386 BC appears a virtual replay of the previous century. There were wars against the same enemies except Veii (i.e. the Volsci, Aequi, and Etruscans) in the same geographical area, and indeed against other Latin city-states, such as Praeneste and Tibur, just 30 miles away. In addition, a treaty concluded with Carthage in c. 348 BC seems to describe Rome's sphere of control as much the same area as in a previous treaty signed in the first years of the Republic 150 years earlier: just Old Latium, and not even all of that.

This phase of Roman history ended with the Latin War (341–338 BC). The Latin city-states, acting collectively as the Latin League, tried to withdraw from their military alliance with Rome, for fear of the latter's ever-growing political dominance. But the Romans scored a decisive victory and the Latin city-states were either annexed into Roman territory or tied into satellite status.

## Army evolution

on the early period, himself admits that the pre-386 period is very obscure and that his own account is based on legend rather than written documentation, as the few written documents that did exist in the earlier period were mostly lost in the Gallic fire.

### Early regal era (to c. 550 BC)

In the earliest times, when Rome still consisted of separate hilltop settlements, and into the earlier regal period until c. 550 BC, it is likely that there was no "Roman army" in the conventional sense, but war-bands based on the Roman *gentes* (clans), led by their clan-leaders e.g. the war-band of the Fabii, which, according to Livy numbered 306 *cognati et sodales* ("kinsmen and supporters") in 479 BC. In this era, the predominant "warfare" consisted of chronic small-scale raiding and cattle-rustling against other clans and, later, neighbouring hill-tribes such as the Sabini and Aequi. Only occasionally did the clan war-bands join together to form a larger force, in order to face a major threat from neighbouring tribes. It is likely that the heroic tales in Livy's first three books derive from old ballads celebrating such raids, orally transmitted through the generations within aristocratic clans. At this time, it is likely that Roman warriors, both foot and mounted, were unarmoured, carrying only light shields and leather helmets.

### Later regal era (c. 550–500 BC)

It appears that the "Early Roman army" in the sense of an organised national force with standard equipment did not become established before the period 600-500 BC, when both the ancient chroniclers and archaeology indicate major changes in organisation and equipment.

#### Infantry

The critical changes were the adoption by the infantry of Greek-style hoplite equipment, most likely borrowed from the Greek colonies of southern Italy (Magna Graecia), featuring metal body-armour; and the concomitant differentiation of the section of the citizen-body who were wealthy enough to pay for such equipment (known as the *classis*, or "class") from those who were not and continued to serve as unarmoured light infantry (*infra classem*, or "beneath the class").

According to Livy, Romulus (traditional reign dates: 753–717 BC) raised ten *centuriae* (military units of 100 men) of infantry from each of the three original "tribes" of Rome which he had founded - the *Ramnes*, *Tities* and *Luceres*. (Although the Latin term *tribus* \- literally "in three parts" - is conventionally translated as "tribe", the term "constituency" would be more precise, as they were artificial divisions for administrative purposes. The Romans always used the terms *gentes* or *nationes* to mean "tribes" in the sense of ethnic groups). But the establishment of these *centuriae* (and even of the tribes themselves) is probably anachronistic, and in reality dates from much later in the regal era, probably in the period 600-550 BC.

The initial 30 *centuriae* were then doubled to 60 in the period around 550 BC, according to the scholar P. Fraccaro's interpretation of the so-called Servian centuriate organisation. Fraccaro suggests that the Servian army consisted of a single legion of 6,000 hoplites, plus 2,400 *velites* (unarmoured infantry) and 600 cavalry. Until recently, Fraccaro's thesis was not widely accepted because of Alfoldi's view of an "insignificant" early Rome, which could not have supported such a powerful army (or cavalry). But with a population now estimated at 35,000 inhabitants, a regal military levy of 9,000 is plausible, and the Fraccaro interpretation has won wide acceptance among modern scholars of ancient Rome. It implies that the "Servian" citizen-body was divided into just three property-classes for military service: patricians for cavalry service, landowning peasants for service (collectively known as the *classis*) as hoplites and others for service as *velites* (*infra classem*, or "beneath the class").

#### Cavalry

Romulus supposedly established a cavalry regiment of 300 men called the *Celeres* ("the Swift Squadron") to act as his personal escort, with each of the three tribes supplying 100 horse. This cavalry regiment was supposedly doubled in size to 600 men by King Tarquinius Priscus (conventional dates 616-578 BC). That the cavalry was increased to 600 during the regal era is likely, as in the early Republic the cavalry fielded remained 600-strong (two legions with 300 horses each). However, according to Livy, king Servius Tullius established a further 12 *centuriae* of *equites*, a further tripling of the cavalry. But this is probably anachronistic, as it would have resulted in a contingent of 1,800 horses, incongruously large since the heavy infantry was only 6,000-strong. Instead, the additional 12 *centuriae* were probably created at a later stage, perhaps around 400 BC, but these new units were political not military, most likely designed to admit plebeians to the Order of Knights.

An important question is whether the royal cavalry was drawn exclusively from the ranks of the patricians. This is certainly the mainstream view among historians, starting with Mommsen, but Cornell considers the supporting evidence tenuous. If the cavalry was indeed a patrician preserve in the regal era, it probably played a critical part in the coup against the monarchy. Indeed, Alfoldi suggests that the coup was carried out by the *Celeres* themselves.

### Early Republic (500–c.300 BC)

According to the Fraccaro hypothesis, when the Roman monarchy was replaced by two *praetores* in c. 500 BC, the royal legion was divided into two (one for each *praetor*), each legion comprising 3,000 hoplites. The *velites* and cavalry were also split equally (1,200 *velites* and 300 cavalry each), for a total of 4,500 men. This remained the normal size of a Republican legion until the end of the Social War (88 BC). However, Livy states that a legion at the time of Marcus Furius Camillus (early 4th century BC) consisted of only 3,000 infantry and 300 cavalry.

Around 400 BC, according to Livy, important reforms were made. Pay was introduced for levies under arms, both infantry and cavalry (at 1/3 and one *drachma* per day respectively). Although modest, infantry pay was at least sufficient to cover food rations, clothing and miscellaneous equipment (other than weapons and armor), which until then had been borne by the soldier.

A seminal innovation of the young Republic was the establishment, in c. 493 BC, of an indefinite military alliance with the other city-states of Old Latium, the home of the Latin tribe, to which the Romans themselves belonged. The so-called *foedus Cassianum* ("Treaty of Cassius") was a mutual non-aggression and defense pact. It required all signatories to assist any of their number who was attacked with all their forces. It also appears to have provided for joint operations in the field. Judging by the provision that the Romans and Latins were to share booty on an equal basis, it is likely that the treaty required the Latins to contribute roughly the same number of troops to joint operations as Rome. It appears that allied strategy was determined by an annual conference and that command of any joint forces may have alternated between Romans and allies. The treaty remained in force until 358 BC and effectively doubled Rome's military potential to c. 18,000 troops, a huge size for Italian armies of the time.

### Transformation into manipular Roman army (c.300–264 BC)

Scholars generally believe that the transformation of the early army into the "manipular" army of the mid-Republic took place during the Samnite Wars (which ended in 290 BC).

From this time onwards, instead of fielding a phalanx for battle, the Romans deployed a series of small tactical units called *manipuli* (maniples), arrayed in three lines (*triplex acies*) in a chessboard pattern (*quincunx*). The maniples were basically the old *centuriae*, reconfigured so that those deployed in the front two lines of *triplex acies* were 20 men larger (120 men) and those in the rear line were reduced to 60 men each. The *quincunx* offered much greater flexibility and maneuvrability than the large, dense mass of a phalanx. It is believed that the Romans copied the *quincunx* from their adversaries, the Samnites.

Other major changes occurred around this time. The demands of the struggle with the Samnites led to the doubling of the normal Roman military levy, from two to four legions. In addition, the defunct alliance (*foedus Cassianum*) with the other Latin cities was replaced, probably during this period, by a new military alliance embracing all the states, Latin or non-Latin, that the Romans had subdued by then (called the *socii*, or "allies"). Unlike the *foedus*, which was a multilateral treaty (or bilateral between Rome and all the other Latin states together), the new arrangements were based on bilateral treaties between Rome and each of a large number of allies. The new system was probably much more Roman-dominated than the *foedus*. Strategy was determined by the Roman Senate alone, joint forces were always levied and command of joint forces was to be always in Roman hands. These measures quadrupled the size of a normal consular army, from c. 5,000 to c. 20,000 men.

This period is also regarded by some historians as the most likely time for the introduction of the "Servian" centuriate organization which underpinned the military levy. The period also saw the introduction of new equipment, including armour for the cavalry and chain-mail armor, the *gladius* (a sword of Spanish design) and the *pilum* (a heavy javelin) for the infantry.

## Equipment

On the basis of Etruscan representations, it has been widely accepted that the main early Roman infantry type was an armoured hoplite. These hoplite would probably have worn bronze helmets, breastplate and greaves and a round leather or large circular bronze-plated wooden shield. They were armed with a spear, sword and dagger.

According to the ancient Greek historian Polybius, whose *Histories* (written c. 140s BC) are the earliest substantial extant account of the Republic, Roman cavalry was originally unarmoured, wearing only a tunic and armed with a light spear and ox-hide shield which were of low quality and quickly deteriorated in action.

## Tactics

As it appears that early Roman heavy infantry were armed as Greek-style hoplites, so it is assumed that it followed the Greek practice of fighting in a "phalanx formation". This was a deep (eight ranks or more), densely packed formation of heavily armoured spearmen, developed in Greece in the 7th century BC. The phalanx would aim to charge and break through the enemy line. Fighting was in tight formation, stabbing with the spear. Phalanx fighting required extensive training, as holding formation was critical to success.

Goldsworthy points out, however, that the phalanx was only suitable for large-scale set-piece battles. It was impractical for the small-scale raiding and skirmishing that remained the most frequent type of fighting that Rome was involved in during this period. Despite the establishment of a national levy in the Regal Era, aristocratic war-bands continued to play a role into the first decades of the Republic e.g. the war-band of the Fabii, which in 479 BC was charged by the *praetores* with guarding Roman territory against raids from the neighbouring Etruscan city of Veii (only to be ambushed by the Veientines and wiped out, supposedly leaving only one Fabius alive to perpetuate the clan). In these minor operations, a smaller tactical unit would have been essential and there is no reason to doubt that it was the *centuria*. Most likely in the regal period it actually consisted of 100 men, as its name implies. Light infantry (*velites*) and cavalry would also have been important in small-scale skirmishes.

## Citations

1. Cornell (1995) 96, 103, 203-9
2. Cornell (1995) 119-21
3. Cornell (1995) 245
4. Cornell (1995) 141–42
5. Cornell (1995)
6. Cornell (1995) 226-9
7. Cornell (1995) 209-11
8. Cornell (1995) 299
9. Cornell (1995) 305
10. Cornell (1995) 304-9
11. Cornell (1995) 320
12. Livy VI.2; Polybius II.18
13. Cornell (1995) 318-22
14. Eckstein (2006) 132-3
15. Livy VI.1
16. Livy II.49.4
17. Livy II.21.1
18. Fields (2007) 4-5
19. Cornell (1995)
20. Fields (2007) 5
21. Goldsworthy (2000) 35
22. Livy I.15, 36
23. Cornell (1995) 182-2
24. Cornell (1995) 181-2
25. Cornell (1995) 209
26. Cornell (1995) 204-7
27. Goldsworthy (2000) 35
28. Fields (2007) 5
29. Livy I.36
30. Polybius
31. Livy I.43
32. Cornell (1995) 193
33. Cornell (1995) 250
34. Cornell (1995) 238, 446 note 32
35. Fraccaro (1931)
36. Cornell (1995) 182
37. Livy
38. Fields (2007)
39. Dionysius I
40. Goldsworthy (2003)
41. Polybius I.
42. Goldsworthy (2000) 34
43. Goldsworthy (2000) 38
44. Goldsworthy (2000) 38
45. Livy II.49.4
46. Goldsworthy (2000) 35

### Ancient

### Modern

* Briscoe, J. (1989). "Second Punic War". In Astin, A. E.; Walbank, F. W.; Frederiksen, M. W.; Ogilvie, R. M. (eds.). *The Cambridge Ancient History, Volume VIII: Rome and the Mediterranean to 133 B.C.* Cambridge: Cambridge University Press. ISBN 978-0-5212-3448-1.
* Brunt, P. A. (1971): *Italian Manpower*
* Cary & Scullard (1980): *History of Rome*
* Cornell, T. J. (1995): *The Beginnings of Rome*
* Eckstein, A. M. (2006): *Mediterranean Anarchy, Interstate War and the Rise of Rome*
* Fraccaro, P. (1931): *La storia dell'antichissimo esercito romano e l'età dell'ordinamento centuriato*
* Goldsworthy, A. (2000): *Roman Warfare*
* Goldsworthy, A. (2001): *Cannae*
* Goldsworthy, A. (2003): *The Complete Roman Army*
* Staveley, E. S. (1984). "Rome and Italy in the early 3rd Century". In Walbank, F. W.; Astin, A. E.; Frederiksen, M. W.; Ogilvie, R. M. (eds.). *The Cambridge Ancient History, Volume VII, Part 1: The Hellenistic World*. Cambridge: Cambridge University Press. ISBN 978-0-5212-3445-0.
* Scullard, H. H. (1984): *A History of the Roman World*
* Taylor, Michael J. (2020): "The Evolution of the Manipular Legion in the Early Republic." *Historia* 69: 38-56.

## Further reading

* D'Amato, Raffaele (2011). *Roman Centurions 753–31 BC: The Kingdom and the Age of Consuls*. Oxford: Osprey Publishing. ISBN 978-1849085410.
* Fields, Nic (2011). *Early Roman Warrior 753–321 BC*. Oxford: Osprey Publishing. ISBN 978-1849084994.


title: Dress Like Your Idols

abstract: Dress Like Your Idols is the fourth full-length album by indie rock band BOAT, released in 2011. It is the follow-up to the band's 2009 album, Setting the Paces.

text:
# Dress Like Your Idols

***Dress Like Your Idols*** is the fourth full-length album by indie rock band BOAT, released in 2011. It is the follow-up to the band's 2009 album, Setting the Paces.

## Reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Allmusic |  |
| Pitchfork Media | (7.6/10) |

*Dress Like Your Idols* received largely positive reviews from critics. AllMusic's Tim Sendra praised the album saying, "Dress Like is their best record to date, with their best songs" and the songs have "super hooks." Pitchfork Media's Mark Hogan claimed, "The result is the best album yet from a band whose style finally appears to be back in vogue" and compared the album's sound to Surfer Blood and Weezer.

## Album cover

The album cover received acclaim, including being named one of the best of the year by Paste Magazine. The cover artwork features illustrated tributes to several other album covers, a wink at the title *Dress Like Your Idols*. From top to bottom, left to right, the tributes are:

## Track listing

1. "Changing of the Guard" – 2:48
2. "Bite My Lips" – 3:09
3. "King Kong" – 3:15
4. "L-O-V-E" – 0:47
5. "Forever in Armitron" – 3:07
6. "Classically Trained" – 2:38
7. "Water It Down" – 0:47
8. "Kinda Scared of Love Affairs" – 2:38
9. "Landlocked" – 3:04
10. "Do the Double Take" – 1:50
11. "Frank Black Says" – 2:15
12. "Noises in the Night" – 2:45
13. "Dress Like Your Idols" – 2:25

## Personnel

* D. Crane, vocals and guitar
* J. Goodman, multi-instrumentalist, percussion
* J. Long, drums, percussion, vocals
* M. McKenzie, bass, guitar, vocals
* B. Stewart, guitar, tambourine
* J. Roderick, additional vocal (9)

**Recording**

* Jackson Justice Long, producer, recording, mixing (7, 10)
* Cam Nicklaus, mixing, recording
* Ed Brooks, mastering
* D. Crane, recording (10)
* J. Mendoza, additional recording (10)

## InfoBox

| Dress Like Your Idols | |
| --- | --- |
|  | |
| Studio album by BOAT | |
| Released | March 22, 2011 |
| Genre | Indie rock |
| Length | 31:37 |
| Label | Magic Marker Records |
| BOAT chronology | |
| *Setting the Paces*
(2009) ***Dress Like Your Idols***
(2011) *Pretend To Be Brave*
(2013) | |


title: Alex Rutherford

abstract: Alex Rutherford is the collective pen name of two writers, Diana Preston and her husband Michael Preston. "Rutherford" is known for the six-book historical fiction series Empire of the Moghul. The Prestons studied at the University of Oxford in history and English respectively. Their research into the building of the Taj Mahal led them to explore the early history of the dynasty which built it – the Mughal Empire. Over the years they have also retraced the steps of the Mughals from the Ferghana Valley in Kyrgyzstan – home to the first Moghul emperor, the boy-king Babur – to Iran and to the blue domes and minarets of Samarkand in Uzbekistan, across the red deserts to the Oxus River, over the Hindu Kush to Kabul and Afghanistan and down through the Khyber Pass to the plains of northern India. Empire of the Moghul consists of six books which is about the epic rise and fall of one of the world’s most powerful, opulent, and glamorous dynasties across 200 years. Until the series they had done only serious non-fiction, and it was their first attempt at historical fiction. They decided to create a new persona to make a distinction between their earlier writing and this new series. "Rutherford" came from the Nobel Laureate Ernest Rutherford, and Alex was chosen as a name that could be male or female.

text:
# Alex Rutherford

**Alex Rutherford** is the collective pen name of two writers, **Diana Preston** and her husband **Michael Preston**. "Rutherford" is known for the six-book historical fiction series *Empire of the Moghul*.

The Prestons studied at the University of Oxford in history and English respectively.

Their research into the building of the Taj Mahal led them to explore the early history of the dynasty which built it – the Mughal Empire. Over the years they have also retraced the steps of the Mughals from the Ferghana Valley in Kyrgyzstan – home to the first Moghul emperor, the boy-king Babur – to Iran and to the blue domes and minarets of Samarkand in Uzbekistan, across the red deserts to the Oxus River, over the Hindu Kush to Kabul and Afghanistan and down through the Khyber Pass to the plains of northern India. *Empire of the Moghul* consists of six books which is about the epic rise and fall of one of the world’s most powerful, opulent, and glamorous dynasties across 200 years.

Until the series they had done only serious non-fiction, and it was their first attempt at historical fiction. They decided to create a new persona to make a distinction between their earlier writing and this new series. "Rutherford" came from the Nobel Laureate Ernest Rutherford, and Alex was chosen as a name that could be male or female.

## Books

### By Diana and Michael Preston

* *A Pirate of Exquisite Mind: Explorer, Naturalist, and Buccaneer: The Life of William Dampier*
* *Taj Mahal: Passion and Genius at the Heart of the Moghul Empire*
* *A Teardrop on the Cheek of Time: The Story of the Taj Mahal*

### By "Alex Rutherford"

* *Empire of the Moghul: Raiders from the North*
* *Empire of the Moghul: Brothers at War*
* *Empire of the Moghul: Ruler of the World*
* *Empire of the Moghul: The Tainted Throne*
* *Empire of the Moghul: The Serpent's Tooth*
* *Empire of the Moghul: Traitors in the Shadows*
* *Fortune's Soldier*
* *Fortune's Heir*


title: Early Soundtrack Sketches, Vol. I

abstract: Early Soundtrack Sketches, Vol. I is the second studio album of Daniel Vahnke, released on August 1, 2018 by Rodentia Productions.

text:
# Early Soundtrack Sketches, Vol. I

***Early Soundtrack Sketches, Vol. I*** is the second studio album of Daniel Vahnke, released on August 1, 2018 by Rodentia Productions.

## Track listing

All music is composed by Daniel Vahnke

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Calling" | 0:28 |
| 2. | "Blue Vessel" | 2:48 |
| 3. | "Green Eyes" | 3:15 |
| 4. | "The Anthill" | 2:44 |
| 5. | "Vapor" | 2:19 |
| 6. | "Two Discovery Sketches" | 2:12 |
| 7. | "Yellow Fields" | 2:01 |
| 8. | "Atmosphere Pulse #4" | 0:50 |
| 9. | "Territory" | 2:32 |
| 10. | "Amo" | 3:01 |
| 11. | "Ascension" | 1:54 |
| 12. | "String Improvisation #12" | 2:39 |
| 13. | "Asleep III" | 1:02 |
| 14. | "Asleep II" | 2:38 |
| 15. | "Asleep I" | 2:25 |
| 16. | "Dismantled" | 2:14 |
| 17. | "A Step Back" | 1:09 |
| 18. | "Gentle Reminder" | 2:39 |
| 19. | "Future Test" | 1:40 |
| 20. | "Rat Nest" | 2:59 |
| 21. | "Sexrite 1.0" | 4:12 |

## Personnel

Adapted from the *Early Soundtrack Sketches, Vol. I* liner notes.

**Axon Tremolo**

**Production**

## Release history

| Region | Date | Label | Format |
| --- | --- | --- | --- |
| United States | 2018 | Rodentia Productions | DL |

## InfoBox

| Early Soundtrack Sketches, Vol. I | |
| --- | --- |
|  | |
| Studio album by Daniel Vahnke | |
| Released | August 1, 2018 (2018-08-01) |
| Recorded | 1985 (1985) – 1987 (1987) |
| Genre |  |
| Length | 47:41 |
| Label | Rodentia Productions |
| Daniel Vahnke chronology | |
| *Gravity's Rim (Instrumental Version)*
(2018) ***Early Soundtrack Sketches, Vol. I***
(2018) *Early Soundtrack Sketches, Vol. II*
(2018) | |


title: Drakes Estero

abstract: Drakes Estero is an expansive estuary in the Point Reyes National Seashore of Marin County on the Pacific coast of northern California in the United States, approximately 25 miles (40 km) northwest of San Francisco.

text:
# Drakes Estero

**Drakes Estero** is an expansive estuary in the Point Reyes National Seashore of Marin County on the Pacific coast of northern California in the United States, approximately 25 miles (40 km) northwest of San Francisco.

## Location and description

Situated at 38°02′49″N 122°56′31″W / 38.047°N 122.942°W / 38.047; -122.942, the estuary provides the main drainage for the Point Reyes peninsula. Seen from the air, Drakes Estero resembles a human hand, with Barries Bay, Creamery Bay, Schooner Bay, and Home Bay as the "fingers" and Limantour Bay as the thumb. The waters of the Estero flow into Drakes Bay between Drakes Beach and a narrow strip of land called Limantour Spit.

## Conservation protections

Drakes Estero is a congressionally designated "potential wilderness area". Although Drakes Estero is protected as part of the National Seashore, legacy agricultural uses such as dairy farms and oyster aquaculture have led to controversy over the water quality, conservation status, and proper uses of this body of water.

Conservationists, including L. Martin Griffin, Jr. and oceanographer Sylvia Earle called for an end to the ongoing oyster farming in the estero. Senator Dianne Feinstein criticized the National Park Service, alleging that data used to support the non-renewal was flawed. On November 29, 2012, United States Secretary of the Interior Ken Salazar directed the National Park Service to allow the permit for oyster farming to expire, allowing the land and waters of the estero to return to their natural state.

A lawsuit was filed on December 4, 2012, by Kevin Lunny, the owner of Drakes Bay Oyster Company, to declare the decision by Salazar null and void. In February 2013, the 9th Circuit Court of Appeals issued an injunction on the order to close Drakes Bay Oyster Company until it heard the company's appeal. However, on January 14, 2014, the court declined to rehear the case. The final court challenge to the order to remove the oyster farming was dropped in early December 2014, with the removal of the operation completed in May 2017.

## History

Drakes Estero, the landing spot of Francis Drake on the coast of North America in 1579 during his circumnavigation of the world is a National Historic Landmark. A historical marker has been placed on Drakes Beach near the Kenneth C. Patrick Visitor Center and monuments to Drake have been erected at the Drake's Cove landing site. The Drake landing is interpreted at the Kenneth C. Patrick Visitor Center and the Point Reyes National Seashore's Bear Valley Visitor Center.

Drakes Estero is a component of the Phillip Burton Wilderness.

38°02′51″N 122°56′32″W / 38.04750°N 122.94222°W / 38.04750; -122.94222


title: EVA International

abstract: EVA International is a large-scale contemporary art exhibition that takes place every two years in the city of Limerick, Republic of Ireland. It is known as Ireland's biennial, and is held in even-numbered years.

text:
# EVA International

**EVA International** (previously known as **Limerick Exhibition of Visual Art** and **e v + a**) is a large-scale contemporary art exhibition that takes place every two years in the city of Limerick, Republic of Ireland. It is known as Ireland's biennial, and is held in even-numbered years.

## History

The first incarnation of EVA International was The 77 Exhibition of Visual Art, created by the original committee with the mission statement of providing the public ‘with an opportunity to visit and experience an exhibition not normally available in the region and, at the same time, to stimulate an awareness of the visual arts here’. Between then and 2017, there have been 37 editions of the citywide exhibition.

Each edition is now curated by a different international curator of note, a practice that began with Sandy Nairne in 1979, the only exception to the international rule being Paul O’Reilly, Irish curator of the 1998 edition. The exhibit now has an international focus to its programming, aiming to bring international art to Limerick whilst increasing Ireland's standing in the international art world through invited curators. EVA exhibits have taken place in a number of venues across the city, notably at the Limerick City Gallery of Art, The Hunt Museum, and King John's Castle. For each edition, artists are selected through an open call for submissions, beginning with the first exhibition in 1977. Between 1994 and 2010, the exhibit also included an ‘invited’ selection of artists in addition to those who responded to the open call for artists’ proposals.

Curator Matt Packer was named Director of EVA in March 2017. Packer was previously the Director of CCA Centre For Contemporary Art, Derry.

### Changes in name

The name of the Limerick event has gone through several incarnations, with the original edition being known as the ‘77 Exhibition of Visual Art, Limerick’, the exhibit has variously been known as Exhibition of Visual Art, EVA, and e v + a. Following incorporation as a company limited by guarantee in 2012, the organisation has operated under the business name ‘EVA International’.

### Young EVA

Young EVA is the organisation's flagship education programme. Beginning in 1984, this has taken a variety of forms, frequently involving artist-led workshops with school-age groups, often resulting in an exhibition of young participants’ work.

### Platform Commissions

Platform Commissions is a programme initiative started in 2018 by EVA International that focuses on the commission of works and projects by artists based in Ireland.

## Editions

| year | title | curator(s) | notes |
| --- | --- | --- | --- |
| 1977 | The 77 Exhibition | Brian King, Barrie Cooke, John Kelly | The 1977 Exhibition of Visual Art took place across the Municipal Art Gallery (now the Limerick City Gallery of Art), the Cummins Gallery (no longer in operation), and The National Institute for Higher Education, Castletroy (now University of Limerick). |
| 1978 | The 78 Exhibition | Adrian Hall, Charles Harper, Theo McNab, Cóilín Murray |  |
| 1979 | EVA 79 | Sandy Nairne | EVA 79 marked the first time that the exhibit was presided over by an invited international curator and adjudicator. Nairne set no specific theme for the exhibition, and wrote 'I have selected for the exhibition work that I consider to be the highest quality' from amongst 400 submissions. |
| 1980 | EVA 80 | Brian O’Doherty |  |
| 1981 | EVA 81 | Pierre Rastany |  |
| 1982 | EVA 82 | Liesbeth Brandt Corstius |  |
| 1983 | New Work of Past Winners |  | For the 1983 edition of EVA, the committee held a reflective event, inviting the winning artists of the EVA prizes awarded at the five exhibits that had been held to date, to submit new or recent work to comprise the year's exhibition. As such, no curator was appointed. An essay by Aidan Dunne reflecting on the success of EVA from its inception was included in the exhibit's accompanying catalogue. |
| 1984 | EVA 84 | Peter Fuller | Peter Fuller's curatorship was notable for his exclusion of photography on the grounds that it 'is not art', and his refusal to award the sculpture prize to any of the selected sculptural works. During the 1984 exhibit, there was an incident in which a local resident attempted to deface David Lilburn's self-portrait, entitled *Towards from the Forceps to the Chains of Office* and winner of that year's graphics prize. Having been warned of the event, a photographer from the *Limerick Leader* arrived in time to take photographs of the resident smashing the glass on the print and prevent any further damage being done. The event was a subject of controversy, reported nationwide, and the photographs were later hung alongside the print in another exhibition. |
| 1985 | EVA 85 | Rudi Fuchs |  |
| 1986 | EVA 86 | Nabuo Nakamara |  |
| 1987 | EVA 87 | Ida Panicelli |  |
| 1988 | Limerick Exhibition of Visual + Art 88 | Florent Bex and Alexander Rozhin |  |
| 1989 | EV+A 89: New Work of Past Winners 1984-1988 |  |  |
| 1990 | EV+A 90: Climates of Thought | Saskia Bos |  |
| 1991 | EV+A 91 | Germano Curant |  |
| 1992 | EV+A 92 | Lars Nittve |  |
| 1993 | EV+A 93 | Gloria Moure |  |
| 1994 | EV+A 94 | Jan Hoet |  |
| 1995 | EV+A 95 | María de Corral |  |
| 1996 | EV+A 96 | Guy Tortosa |  |
| 1997 | EV+A 97 | Paul M. O'Reilly |  |
| 1998 | EV+A 98: Circus ZZ | Jeanne Greenberg Rohatyn |  |
| 2000 | e v + a 2000: friends + neighbours | Rosa Martínez |  |
| 2001 | e v + a 2001: expanded | Salah M. Hassan |  |
| 2002 | e v + a 2002: heroes + holies | Apinan Poshyananda |  |
| 2003 | e v + a 2003: on the border of each other | Virginia Pérez-Ratton |  |
| 2004 | e v + a 2004: imagine limerick | Zdenka Badovinac |  |
| 2005 | OPEN e v + a 2005 | Dan Cameron |  |
| 2006 | e v + a 2006: give (a)way | Katerina Gregos |  |
| 2007 | OPEN e v + a 2007: a sense of place | Klaus Ottmann |  |
| 2008 | e v + a 2008: too early for vacation | Hou Hanru |  |
| 2009 | e v + a 2009: reading the city | Angelika Nollert and Yilmaz Dziewior |  |
| 2010 | e v + a 2010: matters | Elizabeth Hatz |  |
| 2012 | EVA International 2012: After the Future | Annie Fletcher | 2012's *After the Future* was EVA International's first edition as a biennial, and the first show under Woodrow Kernohan as director. |
| 2014 | EVA International 2014: Agitationism | Bassam El Baroni | Agitationism was a part of the 2014 Limerick National City of Culture programme. |
| 2016 | EVA International 2016: Still (the) Barbarians | Koyo Kouoh |  |
| 2018 | 38th EVA International | Inti Guerrero | 2018's *38th EVA International* was the first edition under Director Matt Packer. |
| 2020 |  |  | Scheduled to open on 3 July, it was delayed twice, opening 18 September due to the COVID-19 pandemic. |

## InfoBox

| EVA International | |
| --- | --- |
| Genre | Biennial of contemporary art |
| Frequency | Biennial, every two years |
| Location(s) | Limerick, Republic of Ireland |
| Inaugurated | 1977 |
| Next event | 2020 |
| Website | www.eva.ie |


title: Alonzo Smythe Yerby

abstract: Alonzo Yerby was an American physician and academic who served as the Associate Dean of the Harvard School of Public Health in Boston. He previously served as New York City Hospitals Commissioner, as a department head and professor at the Harvard School of Public Health. He was the first black chairman of a department at the public health school, and the first black to be New York City Hospitals Commissioner, heading the city's hospitals department. He is the namesake of the Harvard Chan Yerby Fellowship Program at the Harvard T.H. Chan School of Public Health.

text:
# Alonzo Smythe Yerby

**Alonzo Yerby** (October 14, 1921–February 16, 1994) was an American physician and academic who served as the Associate Dean of the Harvard School of Public Health in Boston. He previously served as New York City Hospitals Commissioner, as a department head and professor at the Harvard School of Public Health.

He was the first black chairman of a department at the public health school, and the first black to be New York City Hospitals Commissioner, heading the city's hospitals department. He is the namesake of the Harvard Chan Yerby Fellowship Program at the Harvard T.H. Chan School of Public Health.

## Early life and education

Yerby was born in Augusta, GA on October 15, 1921, to Rufus Garvin Yerby (1886–1961) and Wilhelmina Ethel Yerby (née Smythe) (1888–1960). He earned a Bachelor of Science degree from the University of Chicago in 1941, and served in the United States Army during World War II. Yerby then earned his M.D. from Meharry Medical College in 1946, followed by his Master of Public Health from the Harvard School of Public Health in 1948. One of his siblings was the writer Frank Yerby (1916-1991).

## Career

While serving in the Army during World War II, Yerby was a member of the United States Public Health Service Commissioned Corps. In 1949, he became Deputy Chief of Medical Affairs in the Office of the Allied High Commission.

After graduating from the Harvard School of Public Health, Yerby held administrative posts in New York's Department of Health and Welfare. He later served as the New York City Commissioner of Hospitals, appointed by Mayor Robert F. Wagner and reappointed in 1966 by Mayor John Lindsay. From 1966 to 1982, Yerby was a professor of Health Services Administration at the Harvard School of Public Health.

Yerby is credited with helping craft the Medicare program with Rashi Fein of Harvard Medical School.

1980 and 1981, he served as Deputy Assistant Secretary for Intergovernmental Affairs in the United States Department of Health and Human Services, serving under Secretary Patricia Roberts Harris at the end of the Carter Administration.

From 1982 to 1989, he served as a professor of medicine at the Uniformed Services University of the Health Sciences.

## Honors

Yerby was a member of the Institute of Medicine of the National Academy of Sciences and the New York Academy of Medicine. He is credited with several African American 'firsts' in public health and health services administration.

## Personal life

Yerby married Monteal May in 1943. They had three children: Mark S. Yerby, Lynne E. Yerby, and Kris Yerby.

Yerby died in Jamaica Plain, Boston on February 16, 1994, at the age of 72 and was buried in the Arlington National Cemetery.

## InfoBox

| Alonzo Yerby | |
| --- | --- |
| Born | Alonzo Smythe Yerby
October 14, 1921
Augusta, Georgia, U.S. |
| Died | February 16, 1994(1994-02-16) (aged 72)
Jamaica Plain, Boston, Massachusetts, U.S. |
| Nationality | American |
| Alma mater | University of Chicago (BS)
Meharry Medical College (MD)
Harvard School of Public Health (MPH) |
| Occupation(s) | Physician, public health doctor, medical educator |
| Spouse | Monteal May Yerby |
| Children | 3 |


title: Alexz Johnson

abstract: Alexzandra Spencer Johnson is a Canadian singer and actress. Known for her distinctive sound since her debut in 2010, her first album, Voodoo, was independently released with her brother, Brendan Johnson, setting the stage for a prolific career. Over the years, she has released several albums and EPs, including The Basement Recordings series (2011–2013), Skipping Stone (2012), and her sophomore album Let ’Em Eat Cake (2014). She continued to evolve with subsequent albums A Stranger Time (2017), Still Alive (2020), and her fifth album, Seasons, released in 2023. Seasons was titled by fan vote via her Patreon and was promoted during her 2023 Europe/US tour. Johnson is best known for her roles as Jude Harrison in the CTV series Instant Star, as Annie Thelen in the Disney Channel series So Weird, and as Erin Ulmer in the 2006 horror film Final Destination 3. She additionally guest starred as Saturn Girl, a member of the Legion of Super-Heroes, in the series Smallville. She was nominated three times for a Gemini Award for Best Performance in a Children's or Youth Program or Series, winning the award in 2008.

text:
# Alexz Johnson

**Alexzandra Spencer Johnson** (born November 4, 1987) is a Canadian singer and actress. Known for her distinctive sound since her debut in 2010, her first album, Voodoo, was independently released with her brother, Brendan Johnson, setting the stage for a prolific career. Over the years, she has released several albums and EPs, including The Basement Recordings series (2011–2013), Skipping Stone (2012), and her sophomore album Let ’Em Eat Cake (2014). She continued to evolve with subsequent albums A Stranger Time (2017), Still Alive (2020), and her fifth album, Seasons, released in 2023. Seasons was titled by fan vote via her Patreon and was promoted during her 2023 Europe/US tour.

Johnson is best known for her roles as Jude Harrison in the CTV series *Instant Star*, as Annie Thelen in the Disney Channel series *So Weird*, and as Erin Ulmer in the 2006 horror film *Final Destination 3*. She additionally guest starred as Saturn Girl, a member of the Legion of Super-Heroes, in the series *Smallville*. She was nominated three times for a Gemini Award for Best Performance in a Children's or Youth Program or Series (*Instant Star*), winning the award in 2008.

## Early life

Johnson was born in New Westminster, British Columbia, and raised in nearby Coquitlam. She is of Swedish, Scottish, and English descent. The sixth of ten children, Johnson says her family embraced the arts and being creative. One brother is an actor and screenwriter, another brother does graphic design, her younger brother performs music, and her brother Brendan is a singer-songwriter and music producer with whom she often collaborates.

From age three, Johnson often sang for her large extended family. By age six, she was receiving vocal training, participating in festivals with her local youth choir by age seven, and giving solo performances at school and community functions. At age nine, she had entered the P.N.E. talent search, becoming a finalist. She participated in many talent contests and festivals, winning a National Anthem Contest at the age of 11, with her rendition of the Canadian National Anthem, "O Canada", heard on national television. This resulted in radio and television interviews, as well as interest from management. That year, she was voted Best Anthem singer of the season by the *Vancouver Sun*.

Locally, Johnson was often referred to as the "West Coast Celine" and sang the Canadian National Anthem at games for the NHL's Vancouver Canucks and the NBA's Vancouver Grizzlies. She performed at charity events and fairs around the province, in addition to the BC Summer Games recording their theme song, "Reach for the Stars". She went on to appear on the Variety Club show singing a duet with Bob McGrath, sang the first set of songs at the Molson Indy (a major car race), and entertained on New Year's Eve at Planet Hollywood at the age of 12.

## Career

### 1997–2003: *So Weird*

Although Johnson was only focused on a music career at the time, she decided to pursue a career in acting at the age of 11, where she "walked into an acting agency and told them \[she\] wanted to sing". She landed auditions for commercials and a television pilot entitled "Most Talented Kids". in 1999.

Johnson auditioned for the Disney Channel original series *So Weird*, which was casting for a lead actress who could also sing for the final season of the show. At the age of 13, Johnson replaced the lead character in the Disney Channel series *So Weird* for the show's final season. Johnson portrayed the lead role of Annie Thelen, which combined her acting and musical talents. The role featured her singing alongside Mackenzie Phillips. She showed an interest in songwriting, co-writing one of the songs for the show.

On July 22, 2000, Johnson was featured in *Billboard* for the first time, she went on to be featured in sixteen different issues. Her highest ranking was number two in "*The Top 10 Favorite Artist Picks*" for "*The Most Popular New Talent on Broadband Talent Net*" as of June 2, 2001, after 33 weeks on. Her co-write from Disney’s *So Weird*, "Dream About You" charted six different times and came in at number one in "*Radio Play Favorite Song Requests*" for "*The Most Listened-to New Tracks on Broadband Talent Net*" on November 11, 2000. Her cover of Canadian girl group Prestige’s song, "Wishing Star" retitled as "Wishing On A Star", came in at number five in the same issue. Also "Sunshine Reigns", an early credited co-write with songwriters Trevan Wong and Doris Young, charted at number three on July 22, 2000.

In the year 2000, a song performed by Johnson entitled "Everything (Feels Like New)" was featured in the Disney Channel Original Movie *The Other Me*, starring Andrew Lawrence. She promoted the project by performing a few verses in an impromptu a capella that aired on Disney Channel during her *Express Yourself* interview feature that was highly circulated during commercial breaks at the time. A low quality demo of the song leaked in full online. However, a full studio version of the song was never released.

After the cancellation of *So Weird*, Johnson continued her interest in songwriting, co-writing with her brother Brendan Johnson. Several labels offered her contracts, but she held off, wanting more creative control and a hand in the songwriting. In 2001, Johnson teamed up with the production/songwriting team of Johnny Elkins and CJ Vanston. Her song "Transparent Lies", was recorded for a compilation album titled *Fill Your Head*. The album was compiled featuring several different artists with songs using certain words in order to help students with their SAT scores. Though it was initially released as a physical and digital compilation album, the physical is no longer in print, but a low quality digital copy can still be purchased for download from the original official website. Her work with Vanston and Elkins featured a more bubblegum pop sound than what she preferred and ended around 2003. Johnson continued to work with her brother Brendan recording their own music. These were the songs included on the demo CD sent to the executives of *Instant Star* with her audition tape.

In 2019 in an interview with *The So Weird Podcast*, Johnson confirmed that her *So Weird* and *Cold Squad* co-star Belinda Metz played a key role in her landing the role of Jude Harrison in *Instant Star*. Select scenes from their original audition tape were released as apart of the bonus features on the *Instant Star*, Season 1 DVD boxset.

### 2004–2007: *Instant Star*

Throughout 2004, Johnson made various appearances on Canadian television series including *The Chris Isaak Show*, *The Collector*, and *Cold Squad* where she performed two original songs as twins Dierdre and Tricia Spence. Her Disney’s *So Weird* co-star Belinda Metz also plays both of her character’s mother. Years later, Tricia Spence’s swan song “Eight Days” was unofficially given to fans and posted online after much petition.

In February 2004, Johnson sent in an audition tape to the producers of *Degrassi: The Next Generation* for their upcoming show *Instant Star*. They were specifically looking for a Canadian teen actress/vocalist to play the lead role, Jude Harrison. The first audition tape Executive Producer Stephen Stohn received was Johnson's via Canadian Singer-songwriter and actress Belinda Metz, and he was convinced she was perfect for the role. After its first season, *Instant Star* was nominated for three Gemini Awards (the Canadian equivalent of the American Emmy Award) in the category of Best Children's or Youth Fiction Program or Series, including a nomination for Best Performance (Alexz Johnson). On August 28, 2007, the show received three more Gemini Award nominations, in the category of Best Children's or Youth Program or Series, including another for Best Performance (Alexz Johnson, in the episode, "I Fought the Law").

Johnson sang all of the songs that her character Jude, on *Instant Star* performed on the show. She recorded soundtracks for each of the four seasons of *Instant Star*: *Songs from Instant Star*, *Songs from Instant Star Two*, *Songs from Instant Star Three*, and *Songs From Instant Star Four*. She co-wrote five of the songs on the first season's soundtrack, including "24 Hours", "Let Me Fall", "Criminal, "Skin", and "That Girl", which Johnson had written before when she was fourteen. She also co-wrote "Frozen" & "Shatter Me", both of which were featured in the show but were never considered for the soundtrack.

In 2005 she made guest appearances in the made-for-TV films *Reefer Madness: The Movie Musical*, with her vocals included in the ensemble on the release of the film's official promo disk and soundtrack releases. As well as Lifetime's original film *Selling Innocence*, released July 2, 2005.

Most of the original recordings for her originally planned debut album were written by Johnson in early 2005, but she had yet to find a major label to help create and release the songs. In early 2006, Johnson announced she was leaving the indie Canadian label Orange Records that released the first two soundtracks to *Instant Star*, in search of something to showcase her as an artist and not her fictional counterpart, Jude Harrison.

Johnson auditioned for the role of Julie Christensen in the thriller *Final Destination 3*. She showed up at the audition in an all-black, punk rockish outfit, later claiming that she was in a bad mood. The casting directors concluded she was a better fit for the role of Erin Ulmer, a character with a bad attitude. Her performance attracted praise from some critics, including one (writing for *The Philadelphia Inquirer*) who said: "The characters are so loathsome, you're glad to see them go. Except for two: the goth couple Ian (Kris Lemche) and Erin (Alexz Johnson). He's a cynical know-it-all, like Dennis Miller with black fingernails; she's like Parker Posey with raccoon mascara.." In 2007, Johnson starred in the Lifetime film *Devil's Diary*, for which she received a Leo Award nomination, in the category of Best Lead Performance by a Female in a Feature-Length Drama.

### 2008–2009: Major label debut album

On August 26, 2008, Johnson was nominated a third time for a Gemini award. On October 21, 2008, she won the Gemini Award for Best Performance in a Children's or Youth Program or Series, for the *Instant Star* episode "Let It Be". Johnson continued with *Instant Star* for four seasons, and expected to return for a fifth. This was interrupted when CTV and The N both pulled funding following the fourth season, which led to the cancellation of the series. This allowed Johnson to go back to focusing on her music.

After a showcase in New York City, Johnson met with several labels and producers and chose Capitol Records, which allowed her to work with Paul Buckmaster, though her brother was the main producer of the material at the time. In writing songs for the album, she worked with UK writers Martin Terefe and Sacha Skarbek as well as producer/songwriter Brio Taliaferro. On June 25, 2007, Johnson appeared on MTV Canada. She confirmed that all of her songs had been written and recorded. She planned on shopping for a label over the next few months and hoped to release the album in the winter.

On February 15, 2008, she announced that she had signed a record deal with label Epic Records (part of the Sony BMG group), expecting the album to be released in the fall. Having heard the first six songs, Stephen Stohn, in his MySpace blog of February 16, 2008, commented that, "they are just incredibly good – very different from the songs you've come to know through *Instant Star*, much more rhythmic, with almost a world beat." In an interview in 2008, she described her upcoming album as "pop with eclectic world rhythms and influences", citing influences from "older artists" such as Paul Simon, Kate Bush, and Annie Lennox, and saying that she was "trying to find a way to make those great older songs younger".

The producer for the album became Greg Wells after Johnson was introduced to him through his brother Rob Wells, one of the songwriters for *Instant Star*. The new arrangement with Epic Records also affected the line-up of artists for the *Instant Star* 4 soundtrack, as the record label allowed her a maximum of four songs on *Instant Star* 4. In her MySpace blog of February 15, 2008, Johnson indicated that she was planning an extensive tour around her new album, saying of her songs that, "I can't wait to perform them live! Looking forward to seeing all of your faces!" Johnson also began working with multi-instrumentalist Luis Conte and legendary strings expert Paul Buckmaster. Five songs were posted on her MySpace page by her record company on June 11, 2008. These songs were supposed to appear in her upcoming album and were entitled: "Easy", "Swallowed", "Chicago", "Golden", and "Running With the Devil".

Johnson appeared in the hit CW series *Smallville* episode "Legion", as the superheroine Saturn Girl. The episode aired on January 15, 2009. She was the second actress from Instant Star to appear in the show, the first one being Laura Vandervoort. She also appeared in the TV-film version of the Lois Duncan novel *Stranger With My Face*, in which she plays twin sisters who were separated at birth. She stated that the filming—which included a dramatic scene in which her two characters conflict through astral projection, leading to a fall off a cliff and into a waterfall—was so mentally and physically demanding, that she felt like she could never take on another role like it again. It premiered on Lifetime on August 29, 2009. The director of *Stranger With My Face*, Jeff Renfroe, greatly praised what he saw when working with Johnson and her costar Andrew Francis. "They're both young actors who came from the school of working from the gut and not trying to intellectualize everything."

Before the album's release date, Epic Records removed Johnson from their Artist Lists. Johnson later gave clarification on her website that launched August 11, 2009, saying "Epic has released over a third of their artists from their contracts and, la dee da... I'm one of those artists..." She also later clarified in an interview that the "head of the label who signed \[her\] ended up shifting to a different company. It led a lot of artists on Epic astray." She confirmed that due to losing her deal with Epic, she would be releasing a different album independently with her brother Brendan producing. She said she hopes that her unreleased debut album with Epic would see the light one day, noting that for now, the songs are still tied up in the arrangement with Epic.

### 2010–2011: *Voodoo*, *Reloaded* and *The Basement Recordings*

The independent release will be by the company which also runs her website – Laydee Spencer Music, Inc. Johnson released a list of songs that are going to be on her album in alphabetical order, and later requested fans to go through the clips of five upcoming songs on her site, and to recommend which should be the lead-off single. The tracks posted were: "L.A. Made Me", "Hurricane Girl", "Voodoo", "A Little Bit", and "Trip Around the World". It was announced that her debut album *Voodoo* would be released on March 30, 2010. The debut single, Trip Around The World, was released on February 2, 2010, along with a music video shot by Michael Maxxis. Johnson shared in an interview that her favourite songs of *Voodoo* are "Look at Those Eyes", "Voodoo", and "Gonna Get It".

Johnson informed her fans through her Twitter account and her official website that all the songs from *Voodoo* would be remixed by the Demolition Crew due to lack of airplay. The Demolition Crew undertook to make the songs more radio-friendly. She later released her remix album *Reloaded*, it was released on April 26, 2011. The first single, "Boogie Love" (The Demolition Crew Remix), was released on January 10, 2011, while the second one, "Look at Those Eyes" (The Demolition Crew Remix), was released on March 29, 2011.

She became a trending topic on Twitter for four days, due to the ABC Family television series *Pretty Little Liars*, playing "Time to Be Your 21", a song performed by Johnson in the series *Instant Star*, in the season finale. While trending on Twitter, she garnered attention from Demi Lovato and Nelly Furtado. Lovato has spoken several times about Johnson being her inspiration to start a career in music, while Furtado spoke about her single "Look at Those Eyes" calling it "an event". With the help of the Twitter trend, Johnson made the homepage of several online sites, including *L.A. Times* Ministry of Gossip Blog.

Johnson created a YouTube account where she posts videos of herself performing along with her brother Brendan James Johnson, and Jimmy Robbins. On June 22, 2011, Johnson held two live concerts on Stage It for fans around the world. The concerts were performed online via webcam. Though many of her songs had already been featured in several episodes. In June 2011 it was announced that Johnson would sing on the opening theme song of the television series *Degrassi: The Next Generation* Season 11. The idea came naturally as Demacio "Demo" Castellón was producing the track and asked her if she would contribute to it.

She revealed that she is writing for her next album and hoping to enter the studio by the end of the Summer to start recording. Johnson and her brother, Brendan Johnson, released a digital album of some of her previously unreleased demo's entitled, *The Basement Recordings*, on August 26, 2011. The sequel to the 2011 demo album *The Basement Recordings*, named *The Basement Recordings II* was released on May 1, 2012. On February 22, 2013, Johnson and her brother Brendan released the third installment in the series, *The Basement Recordings III*.

### 2012–2016: *Skipping Stone*, *Heart* and *Let 'Em Eat Cake*

Johnson announced her plans to release an EP featuring new material, and confirmed on October 29 that she was in New York filming the music video for her new single "Skipping Stone". She also confirmed that it would originally be a digital release, and following her Kickstarters Campaign, a physical release would follow. The video for "Skipping Stone" was released in December. *Skipping Stone* was released on January 24, 2012, that same day she launched a Kickstarter Campaign in order to raise funds for her upcoming U.S. tour. She set her goal for $30,000 in 60 days. For different money denominations, Johnson offered prizes. Examples included digital downloads of *Skipping Stone*, signed T-shirts and CDs, signed scripts, clothing from *Instant Star*, concert tickets, personalized emails phone calls, live performances, dinner and a broadway show, etc. Johnson unexpectedly reached her goal within 24 hours, confirming her ability to tour during the summer of 2012. Johnson reached $50,000 on day three, allowing her the opportunity to expand the tour and travel overseas. All money donated goes toward touring, recording, merchandise, and anything music related. On October 26, 2012, Johnson released a trailer for *The Skipping Stone Tour Documentary* which chronicles her summer on tour. Johnson released a live album, *Live From The Skipping Stone Tour*, a documentary, and a photo book containing photos from The Skipping Stone Tour on December 4, 2012.

Alexz revealed she had begun working on *Heart* in 2012. She worked with Bleu, Boots Ottestad, Wax Ltd, Jamie Hartman, Theo Katzman, and her brother Brendan James Johnson on writing the Extended-Play. Johnson later announced that she would collaborate with her fans in funding her next studio project through PledgeMusic.com. According to the site, Johnson has managed to gather 156% of the money needed for the production and release of her second album. Johnson launched a joint North American tour with Charlene Kaye, Misty Boyce, and Jay Stolar in the spring of 2013. On Christmas Day of 2013, she released the lead single from *Heart*, titled "American Dreamer", initially only to fans who had already donated, and pledged. The single was released publicly on January 10, 2014. On January 29, 2014, Johnson released the Extended-Play *Heart*, initially to pledgers only. It includes "American Dreamer" as well as three other tracks. While the EP was originally intended to be an album sampler, she clarified in an interview that the EP will stand on its own, and that the EP will feature only new tracks. Johnson was part of a European tour in support of the EP in early 2014, opening for Ron Pope and Wakey!Wakey!. Johnson was also the opening act for MAX on a North American tour.

Pledgers received digital copies of Johnson's sophomore album *Let 'Em Eat Cake* one week before the official release date of October 14, 2014. Alexz embarked on a tour in support of the album from October until December of the same year. Jared & The Mill and Patrick Droney joined her as special guests. From February to March 2015, Johnson had a five-week residency at The Hotel Cafe in Hollywood, CA. The song "Let 'Em Eat Cake" was featured in an episode of *South of Hell* starring Mena Suvari. The episode aired on November 27, 2015, on WE tv.

Johnson collaborated with Bleu on the project Johnson & McAuley. They released a self-titled EP in 2016. The duo released their first music video for "Illuminated Dream" on January 19, 2017.

On May 24, 2016, Johnson made her directorial debut with "Weekend" a music video for the band Dress Black. June 27, 2017, a second video for Dress Black's song "Single File Girl" was released also directed by Johnson.

### 2017–present: *A Stranger Time* and *Still Alive*

She began working on her third studio album, with Mark Howard producing the record. "Right Now" was released as the lead single from her third studio album on July 4, 2017. The studio album *A Stranger Time* was officially released on September 1, 2017, it is a nine track studio album. A music video for "Right Now" premiered on Johnson's YouTube channel on her birthday, November 4, 2017. The album is accompanied by multiple music video's, and a behind the scenes video of making the album. On March 9, 2018, she released her second live album titled *Live from A Stranger Time*.

In late 2019, she announced, via her official Instagram account, an upcoming fourth studio album. The singles "Weight" and "Running with the Devil", as well as a short documentary, *The Longer Road*, preceded the release of the album. *Still Alive* was released on May 8, 2020.

On March 16, 2023, Alexz Johnson released a new track titled “Ain’t That The Way” from her upcoming 5th studio album Seasons, set to release on April 7, 2023.

## Influences and musical style

> *I love interesting voices. I love Rickie Lee Jones, I think she's an amazing lyricist and songwriter. Annie Lennox is a strong woman and she wasn't afraid to be really eccentric and who she was. It's nice to see singers that find sensuality and sexuality and femininity and all those key words, I feel like it's nice to have that, not so obvious, it's nice when it comes from a different place, and I feel like it's important that that is out there as well in the music industry.*

Johnson, In an interview with Fearless Radio, November 4, 2014.

Alexz Johnson could be seen in 2001 during her episode with Disney Channel's *Express Yourself* citing Celine Dion, Whitney Houston, Mariah Carey, and Sarah McLachlan as vocal influences. She states: "*Women who just write their own music and sing what they feel, it just really inspires me.*"

Johnson was quoted saying, "I love pop music, but kind of eclectic, creative pop." She has said her influences include Kate Bush, Peter Gabriel, Paul Simon, and Annie Lennox. She is also an admirer of Jason Mraz, The Civil Wars, and Sara Bareilles.

Roy Orbison, Elvis Presley, Billy Joel and Carole King have all influenced her writing growing up.

## Philanthropy

During 2001, Johnson worked with World Vision, and had a section on her official site where fans could order shirts with a design done by Johnson and featuring her autograph. There were production problems and the shirts were never sent out. Johnson made an apology on her site and provided refunds to everyone who ordered one. In 2002, she performed as the opening act at Wayne Gretzky's celebrity dinner and auction, held in Edmonton, Alberta, to raise funds for the Ronald McDonald children's charity. Also in 2001 she performed, and visited the Nashville Kids Fair, she also hosted the event. During her time in Nashville, Johnson visited ill children in a local hospital. The trip was made as a part of an outreach program by Disney Channel, and Johnson visited children, with the dog who starred in the Disney original film *Air Bud*.

In 2002, Johnson shared the stage with David Foster, Michael Bublé, and Ed McMahon at a David Foster Foundation fundraiser. During 2002 and 2003, Johnson focused on her music, and decided to perform with several charitable organizations. She worked with David Foster, opening for his charity events for the David Foster Foundation. After the season premiere of the second season of *Instant Star* on The N she also did a public service announcement for Second Harvest, which had been assisting victims of Hurricane Katrina.

On November 21, 2008, Johnson was a special guest performer for a Women in Leadership (a Vancouver organization promoting women's role in the media) foundation called SuperWomen & Friends—A Red Carpet Gala.

In 2021 Johnson teamed up with Cameo.com, in which fans can purchase personal request videos, announcing that partial proceeds will benefit the Canadian Cancer Society.

## Filmography

Film
| Year | Title | Role | Notes |
| --- | --- | --- | --- |
| 2004 | *Scooby-Doo 2: Monsters Unleashed* | Fred fan | Cameo |
| 2006 | *Final Destination 3* | Erin Ulmer |  |
| 2013 | *House of Bodies* | Kelli |  |
| 2017 | *The Wasting* | Grace | Also co-producer |

Television
| Year | Title | Role | Notes |
| --- | --- | --- | --- |
| 2000–01 | *So Weird* | Annie Thelen | 26 episodes Lead role (Season 3) |
| 2001 | *Express Yourself* | Herself | Interstitial series |
| 2004 | *The Chris Isaak Show* | Jennifer | Episode: "Taking Off" |
| 2004 | *The Collector* | Isabelle Van Sant | Episode: "The Ice Skater" |
| 2004–08 | *Instant Star* | Jude Harrison | 52 episodes Lead role (Seasons 1–4) |
| 2004 | *Cold Squad* | Deirdre Spence / Tricia Spence | Episode: "Teen Angel" |
| 2005 | *Reefer Madness* | The Arc-ettes / Vocal Ensemble | Television film |
| 2005 | *Selling Innocence* | Angel DeSousa | Television film |
| 2006 | *Degrassi: Minis* | Jude Harrison | Episode: "I'm a Degrassi, I'm an Instant Star" |
| 2007 | *22nd Annual Gemini Awards* | Herself | Opening skit, cameo |
| 2007 | *Devil's Diary* | Dominique | Television film |
| 2009 | *Smallville* | Imra Ardeen / Saturn Girl | Episode: "Legion" |
| 2009 | *Stranger with My Face* | Laurie Stratton / Lia Abbot | Television film |
| 2011 | *The Listener* | Marissa Patterson / Hack Grrl | Episode: "Jericho" |
| 2011 | *Haven* | Moira Keegan | Episode: "Roots" |
| 2014 | *Blue* | Satya | 4 episodes; recurring role (Season 3) |

As producer
| Year | Title | Credited as | Notes |
| --- | --- | --- | --- |
| 2012 | *Walking* | Producer | Her own music video |
| 2016 | *The Dishwasher* | Producer | Short film |
| 2017 | *The Wasting* | Co-producer | Also actress |
| 2017 | *Single File Girl* | Co-producer | Dress Black music video; Also director |
|

As Director
| Year | Title | Credited as | Notes |
| --- | --- | --- | --- |
| 2016 | *Weekend* | Director | Dress Black music video |
| 2017 | *Single File Girl* | Director | Dress Black music video |
| 2020 | *Still Alive* | Director | Her own music video |
|

## Discography

## Awards and nominations

| Year | Award | Category | Nominated work | Result |
| --- | --- | --- | --- | --- |
| 2001 | Young Artist Awards | "Best Ensemble in a TV Series (Drama or Comedy)" (shared with cast) | *So Weird* | Nominated |
| 2005 | Gemini Awards | "Best Performance in a Children's or Youth Program or Series" | *Instant Star* | Nominated |
| 2007 | Gemini Awards | "Best Performance in a Children's or Youth Program or Series" | | Nominated |
| 2008 | Leo Awards | "Best Lead Performance by a Female in a Feature Length Drama" | *Devil's Diary* | Nominated |
| 2008 | Gemini Awards | "Best Performance in a Children's or Youth Program or Series" | *Instant Star* | Won |
| 2016 | Storyhive Awards | "Storyhive Digital Shorts – British Columbia" | *The Dishwasher* | Won |
| 2016 | Best Shorts Competition | "Film Short" | | Won |
| 2016 | Kerry Film Festival | "Best Original Score" (shared with Matthew Chung and Marko Koumoulas) | | Nominated |
| 2016 | Independent Music Awards | "Best Pop Album" | *Let 'Em Eat Cake* | Nominated |
| 2017 | 21st Annual USA Songwriting Competition | "Songwriting Competition" (shared with Bleu) | *Thank You For Breaking My Heart* | Nominated |
| 2017 | Leo Awards | "Best Musical Score in a Short Drama" (shared with Matthew Chung and Marko Koumoulas) | *The Dishwasher* | Nominated |
| 2020 | UnsignedOnly Music Competition | "Vocal Performance" | *Still Alive* | Won |
|

## InfoBox

| Alexz Johnson | |
| --- | --- |
| Johnson in 2015 | |
| Born | Alexzandra Spencer Johnson<br>(1986-11-04) November 4, 1986<br>New Westminster, British Columbia, Canada |
| Occupations | * Musician * actress |
| Years active | 1997–present |
| **Musical career** | |
| Genres |  |
| Instrument | Vocals |
| Labels |  |
|  | |
| Website | alexzjohnson.com |


title: Ellen Hight

abstract:
Ellen Lendra Hight is a Zambian swimmer, who specialized in freestyle and butterfly events. She represented her nation Zambia in two editions of the Olympic Games. Hight made her first Zambian team debut, as a 19-year-old junior, at the 2000 Summer Olympics in Sydney. Swimming in heat two of the women's 100 m butterfly, she touched out Uzbekistan's Mariya Bugakova to obtain a fifth-place finish and forty-seventh overall with a time of 1:09.34. Three years after her Olympic debut, Hight retired from swimming to focus primarily on her coaching career at the Pacific Coast Swimming Club in Victoria, British Columbia, Canada. In 2007, Hight came out of retirement to compete at the All-Africa Games in Algiers, Algeria, where she had won a bronze medal in the women's 100 m butterfly, with an impressive time of 1:03.38. Her success and outstanding performance at the All-Africa Games marked her return to the Olympics in Beijing 2008
There, she swam to seventh and fifty-third overall in heat six of the women's 50 m freestyle, posting her best time at 27.42 seconds. Hight also received a Bachelor of Science degree major in sports science at the University of Bath in England, and was highly appointed as the nation's sport ambassador in 2003.

text:
# Ellen Hight

**Ellen Lendra Hight** (born February 13, 1981) is a Zambian swimmer, who specialized in freestyle and butterfly events. She represented her nation Zambia in two editions of the Olympic Games (2000 and 2008).

Hight made her first Zambian team debut, as a 19-year-old junior, at the 2000 Summer Olympics in Sydney. Swimming in heat two of the women's 100 m butterfly, she touched out Uzbekistan's Mariya Bugakova to obtain a fifth-place finish and forty-seventh overall with a time of 1:09.34.

Three years after her Olympic debut, Hight retired from swimming to focus primarily on her coaching career at the Pacific Coast Swimming Club in Victoria, British Columbia, Canada.

In 2007, Hight came out of retirement to compete at the All-Africa Games in Algiers, Algeria, where she had won a bronze medal in the women's 100 m butterfly, with an impressive time of 1:03.38. Her success and outstanding performance at the All-Africa Games marked her return to the Olympics in Beijing 2008 There, she swam to seventh and fifty-third overall in heat six of the women's 50 m freestyle, posting her best time at 27.42 seconds.

Hight also received a Bachelor of Science degree major in sports science at the University of Bath in England, and was highly appointed as the nation's sport ambassador in 2003.

## InfoBox

Ellen Hight
| Personal information | |
| --- | --- |
| Full name | Ellen Lendra Hight |
| Nationality | Zambia |
| Born | (1981-02-13) 13 February 1981<br>Kalulushi, Copperbelt, Zambia |
| Height | 1.65 m (5 ft 5 in) |
| Weight | 58 kg (128 lb) |
| Sport | |
| Sport | Swimming |
|  | |
| Strokes | Freestyle, butterfly |
|  | |
| Medal record      Women's swimming  Representing  Zambia  All-Africa Games  2007 Algiers 100 m butterfly | |


title: 139 BC

abstract: Year 139 BC was a year of the pre-Julian Roman calendar. At the time it was known as the Year of the Consulship of Piso and Laenas and the Second Year of Jianyuan. The denomination 139 BC for this year has been used since the early medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years.

text:
# 139 BC

139 BC in various calendars
| Gregorian calendar | 139 BC
*CXXXIX BC* |
| --- | --- |
| Ab urbe condita | 615 |
| Ancient Egypt era | XXXIII dynasty, 185 |
| *\- Pharaoh* | Ptolemy VIII Physcon, 7 |
| Ancient Greek era | 160th Olympiad, year 2 |
| Assyrian calendar | 4612 |
| Balinese saka calendar | *N/A* |
| Bengali calendar | −731 |
| Berber calendar | 812 |
| Buddhist calendar | 406 |
| Burmese calendar | −776 |
| Byzantine calendar | 5370–5371 |
| Chinese calendar | 辛丑年 (Metal Ox)
2559 or 2352
*to*
壬寅年 (Water Tiger)
2560 or 2353 |
| Coptic calendar | −422 – −421 |
| Discordian calendar | 1028 |
| Ethiopian calendar | −146 – −145 |
| Hebrew calendar | 3622–3623 |
| Hindu calendars |  |
| \- *Vikram Samvat* | −82 – −81 |
| \- *Shaka Samvat* | *N/A* |
| \- *Kali Yuga* | 2962–2963 |
| Holocene calendar | 9862 |
| Iranian calendar | 760 BP – 759 BP |
| Islamic calendar | 783 BH – 782 BH |
| Javanese calendar | *N/A* |
| Julian calendar | *N/A* |
| Korean calendar | 2195 |
| Minguo calendar | 2050 before ROC
民前2050年 |
| Nanakshahi calendar | −1606 |
| Seleucid era | 173/174 AG |
| Thai solar calendar | 404–405 |
| Tibetan calendar | 阴金牛年
(female Iron-Ox)
−12 or −393 or −1165
*to*
阳水虎年
(male Water-Tiger)
−11 or −392 or −1164 |

Year **139 BC** was a year of the pre-Julian Roman calendar. At the time it was known as the **Year of the Consulship of Piso and Laenas** (or, less frequently, **year 615 *Ab urbe condita***) and the **Second Year of Jianyuan**. The denomination 139 BC for this year has been used since the early medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years.

## Events

### By place

#### China

* Emperor Wu of Han sends the diplomat Zhang Qian west to form an alliance with the Yuezhi against the Xiongnu. Wu does this after learning from Xiongnu defectors that the Xiongnu had defeated and killed the king of the Yuezhi, had expelled the Yuezhi from their lands and were using their king's skull as a wine goblet. The Yuezhi had subsequently migrated further west.
* Soon after his departure for the west, Zhang Qian is detained by Junchen Chanyu of the Xiongnu. He would remain in Xiongnu custody for more than ten years and would be given a Xiongnu wife.
* Wei Zifu enters Emperor Wu's palace as a concubine and becomes pregnant. Enraged, Liu Piao, the mother of the childless Empress Chen Jiao (wife of Emperor Wu), kidnaps Zifu's brother Wei Qing, who is rescued by Gongsun Ao. Wu responds by advancing the careers of members of the Wei family.

#### Roman Republic

### By topic

#### Astronomy

## Deaths

## InfoBox

| Millennium: | 1st millennium BC |
| --- | --- |
| Centuries: |  |
| Decades: |  |
| Years: |  |


title: Hutt Valley Lakers

abstract: The Hutt Valley Lakers were a New Zealand basketball team based in Hutt Valley, Wellington. The Lakers competed in the National Basketball League (NBL).

text:
# Hutt Valley Lakers

The **Hutt Valley Lakers** were a New Zealand basketball team based in Hutt Valley, Wellington. The Lakers competed in the National Basketball League (NBL).

## Team history

The Hutt Valley Lakers started in the second-tiered Conference Basketball League (CBL). After winning the CBL championship in 1989, the team was promoted to the National Basketball League (NBL) for the 1990 season. In 1991, the Lakers were regular season winners and won the NBL championship with a 103–92 win over the Wellington Saints in the final. In 1993, the Lakers made it back to the NBL final, where they defeated the Canterbury Rams 68–66 to win their second championship. The 1993 final saw Peter Pokai hit the game-winning jump shot to lift the Lakers over the Rams. It was a special triumph for head coach Jeff Green, who was sensationally sacked early in the season, but brought back with seven games to go.

At the end of the 1996 season, both the Lakers and the Saints were struggling to survive. As a result, the two teams amalgamated, with the Lakers merging into the Saints.

## InfoBox

| Hutt Valley Lakers | |
| --- | --- |
| League | National Basketball League |
| Founded | 1990 |
| Folded | 1996 |
| History | **Hutt Valley Lakers**
1990–1996 |
| Location | Hutt Valley, Wellington,
New Zealand |
| Team colours | Yellow, dark blue, white |
| Championships | **2** (1991, 1993) |


title: Hunasagi

abstract:
Hunasagi (Hunsagi) is a taluk of Yadgir district in the state of Karnataka in India.
A number of early Palaeolithic sites have been found in Hunasagi. Hunasagi is 48 km southwest of the district headquarters, Yadgiri and 33 km from Shorapur. The nearest railhead is in Yadgiri.old name was vikramapura Some old Stone Age stone cutting equipments have been found and kept in the Hunasagi Grampanchayat office. It looks like a "Mini Museum".

text:
# Hunasagi

**Hunasagi** (**Hunsagi**) is a taluk of Yadgir district in the state of Karnataka in India. A number of early Palaeolithic sites have been found in Hunasagi. Hunasagi is 48 km southwest of the district headquarters, Yadgiri and 33 km from Shorapur. The nearest railhead is in Yadgiri.old name was vikramapura

Some old Stone Age stone cutting equipments have been found and kept in the Hunasagi Grampanchayat office. It looks like a "Mini Museum".

## Archaeological sites

One late stage Old Stone Age site, excavated at Hunasagi, contained stone tools and weapons made from a reddish-brown chert. Tools found included *longish blades with sharp edges and many multi purpose instruments.*

At some sites, large numbers of the tools, used for all sorts of activities, were found, suggesting that these were probably habitation-cum factory sites. In some of the other, smaller sites, there is evidence to suggest that there were locations where just tools were made. Some of the sites were close to springs. Most of the tools were made from the local limestone. About 15000 stone tools have been found there in abundance, considered oldest in India than the Pallavaram in Tamil Nadu.

## InfoBox

| Hunasagi | |
| --- | --- |
| Town | |
| Hunasagi Taluk Map | |
| HunasagiHunasagi | |
| Coordinates: 16°27′27″N 76°31′26″E / 16.45750°N 76.52389°E / 16.45750; 76.52389 | |
| Country | India |
| State | Karnataka |
| District | Yadgir |
| Population (2011) | |
| Total | 15,000+ |
| Languages | |
| Official | Kannada |
| Time zone | UTC+5:30 (IST) |
| PIN | 585215 |
| Telephone code | 08444 |
| ISO 3166 code | IN-KA |
| Vehicle registration | KA33 |


title: Döbbelinsches Theater

abstract: The Döbbelinsches Theater or Döbbelin Theater, was a theatre in Berlin, active between 1764 and 1799. It was the first permanent German language theatre in Berlin. It was founded by Karl Schuch and was situated in Behrenstraße, replacing the temporary wooden stages on the Gendarmenmarkt nearby. From 1768 on Karl Theophil Döbbelin served as an interim director and after Schuch died on 3 January 1775, Heinrich Gottfried Koch took over on 10 June the same year. When Koch died in 1775, Döbbelin became the theatre's director on 17 April. Prior to its foundation, Berlin had an opera house which only employed Italian artists, and travelling theater troupes often visited the city, but the Döbbelin theater was the first permanent theater for a permanent German language stage company. Among the most notable premieres where Goethe's Götz von Berlichingen in 1774 and Lessing's Nathan the Wise in 1783. The theatre was dismantled in 1799. In 1892 the Komische Oper Berlin was erected basically at the same location, restarting the theatrical tradition, though mainly concentrating on operettas and musicals while more serious plays were performed in the National-Theater at Gendarmenmarkt from 1802 onwards.

text:
# Döbbelinsches Theater

The **Döbbelinsches Theater** or **Döbbelin Theater**, was a theatre in Berlin, active between 1764 and 1799. It was the first permanent German language theatre in Berlin. It was founded by Karl Schuch and was situated in Behrenstraße, replacing the temporary wooden stages on the Gendarmenmarkt nearby. From 1768 on Karl Theophil Döbbelin served as an interim director and after Schuch died on 3 January 1775, Heinrich Gottfried Koch took over on 10 June the same year. When Koch died in 1775, Döbbelin became the theatre's director on 17 April. Prior to its foundation, Berlin had an opera house (founded in 1742) which only employed Italian artists, and travelling theater troupes often visited the city, but the Döbbelin theater was the first permanent theater for a permanent German language stage company.

Among the most notable premieres where Goethe's Götz von Berlichingen in 1774 and Lessing's Nathan the Wise in 1783.

The theatre was dismantled in 1799. In 1892 the Komische Oper Berlin was erected basically at the same location, restarting the theatrical tradition, though mainly concentrating on operettas and musicals while more serious plays were performed in the National-Theater at Gendarmenmarkt from 1802 onwards.

* Dagmar Claus: Einer, der den Hanswurst vertrieb. Carl Theophil Doebbelin (1727–1793). In: Berlinische Monatsschrift 2/1997 beim Luisenstädtischen Bildungsverein, S. 68ff


title: Edwin Epps House

abstract: Edwin Epps House is a Creole cottage built in 1852 in part by Solomon Northup on Bayou Boeuf near Holmesville in Avoyelles Parish, Louisiana. It was built for Edwin Epps, a slaveholder. The house was a "double-sided, wood frame house with one chimney, and a tin roof" of mid-sized farmers. The Edwin Epps Plantation Site, where the house originally stood, is located off of LA 1176 on Carl Hunt Road. It is one of the historic sites of Solomon Northup's enslavement on the Northup Trail.

text:
# Edwin Epps House

**Edwin Epps House** is a Creole cottage built in 1852 in part by Solomon Northup on Bayou Boeuf near Holmesville in Avoyelles Parish, Louisiana. It was built for Edwin Epps, a slaveholder. The house was a "double-sided, wood frame house with one chimney, and a tin roof" of mid-sized farmers. The Edwin Epps Plantation Site, where the house originally stood, is located off of LA 1176 on Carl Hunt Road. It is one of the historic sites of Solomon Northup's enslavement on the Northup Trail.

## Solomon Northup

The house figures in the life of Solomon Northup who built the house and where Epps is reported to have learned that Northup, who he had owned for ten years, was a free man. A team, including Sue Eakin, a history professor at Louisiana State University-Alexandria, researched Northup's book *Twelve Years A Slave* for accuracy and published a new version of the book in the 1960s. As part of the research, she found the house that Northup built, the Edwin Epps House. Over 150 years, the storms and time had decayed the original house.

## Relocation

The house was relocated twice. In 1976, it was moved to nearby Bunkie. It was on the National Register of Historic Places from April 12, 1984, because it was important to the "history in the areas of literature and social/humanitarian because of its close association with the famous slave narrative *Twelve Years a Slave.*

In 1999, the house was dismantled, during which some original building materials were replaced, and reconstructed on the Louisiana State University of Alexandria. It was purchased for their Center for Studies of Life on Plantations.

The relocation, among modern buildings, "destroys the integrity of location and setting, and can create a false sense of historic development." It was delisted from the National Register of Historic Places in 2017.

The house was moved to the university to be used as a museum to help tell the story of plantation life, including the inhumanity and lack of freedom of the enslaved people. There is a room in the house that is dedicated to telling Northup's story. Other rooms tell of life on a plantation.

A historical marker erected near the site reads:

> Built in 1852 by Edwin Epps. Originally located near Holmesville on Bayou Boeuf about three miles away. From 1843 to 1853, Epps, a small planter, owned Solomon Northup, author of famous slave narrative *Twelve Years A Slave.*

30°56′17″N 92°14′37″W / 30.93806°N 92.24361°W / 30.93806; -92.24361


title: Djrègbè

abstract: Djèrègbé is an arrondissement in the Ouémé department of Benin. It is an administrative division under the jurisdiction of the commune of Sèmè-Kpodji. According to the population census conducted by the Institut National de la Statistique Benin on February 15, 2002, the arrondissement had a total population of 10,527.

text:
# Djrègbè

**Djèrègbé** is an arrondissement in the Ouémé department of Benin. It is an administrative division under the jurisdiction of the commune of Sèmè-Kpodji. According to the population census conducted by the Institut National de la Statistique Benin on February 15, 2002, the arrondissement had a total population of 10,527.

6°23′48″N 2°35′07″E / 6.3967°N 2.5853°E / 6.3967; 2.5853

## InfoBox

| Djèrègbé | |
| --- | --- |
| Arrondissement | |
| Country | Benin |
| Department | Ouémé Department |
| Commune | Sèmè-Kpodji |
| Population (2002) | |
| Total | 10,527 |
| Time zone | UTC+1 (WAT) |


title: Luther Burleson

abstract: Luther Franklin Burleson was an American football, basketball, and baseball coach. He served as the seventh head football coach at Baylor University, coaching one season in 1907 and compiling a record of 4–3–1. Burleson was also the first head basketball coach at Baylor, coaching two seasons from 1906 to 1908 and tallying a mark of 10–9. In addition, he was the head baseball coach at Baylor for three seasons, coaching from 1906 to 1908 and amassing a record of 25–34. Burleson was also the head football coach at Daniel Baker College in Brownwood, Texas in 1909 and Trinity University in San Antonio, Texas in 1913 and 1918. Burleson played football and baseball at Trinity.

text:
# Luther Burleson

**Luther Franklin Burleson** (November 16, 1880 – November 17, 1924) was an American football, basketball, and baseball coach. He served as the seventh head football coach at Baylor University, coaching one season in 1907 and compiling a record of 4–3–1. Burleson was also the first head basketball coach at Baylor, coaching two seasons from 1906 to 1908 and tallying a mark of 10–9. In addition, he was the head baseball coach at Baylor for three seasons, coaching from 1906 to 1908 and amassing a record of 25–34.

Burleson was also the head football coach at Daniel Baker College in Brownwood, Texas in 1909 and Trinity University in San Antonio, Texas in 1913 and 1918. Burleson played football and baseball at Trinity.

## Head coaching record

### Football

| Year | Team | Overall | Conference | Standing | Bowl/playoffs |
| --- | --- | --- | --- | --- | --- |
| **Baylor** *(Independent)* (1907) | | | | | | | | |
| 1907 | Baylor | 4–3–1 |  |  |  |
| **Baylor:** | | 4–3–1 |  |  | | | | |
| **Total:** | | 4–3–1 |  | | | | | | |

## InfoBox

Luther Burleson
| Burleson pictured in *The Round-Up 1908*, Baylor yearbook | |
| --- | --- |
| Biographical details | |
| Born | (1880-11-16)November 16, 1880
Buffalo, Texas, U.S. |
| Died | November 17, 1924(1924-11-17) (aged 44)
Stephenville, Texas, U.S. |
| Playing career | |
| Football | |
| c.1900 | Trinity (TX) |
| Baseball | |
| c. 1900 | Trinity (TX) |
|  | |
| Coaching career (HC unless noted) | |
| Football | |
| 1907 | Baylor |
| 1909 | Daniel Baker |
| 1913 | Trinity (TX) |
| 1918 | Trinity (TX) |
| Basketball | |
| 1906–1908 | Baylor |
| Baseball | |
| 1906–1908 | Baylor |
|  | |
| Administrative career (AD unless noted) | |
| 1907–1908 | Baylor |
|  | |
| Head coaching record | |
| Overall | 4–3–1 (football, Baylor only)
10–9 (basketball)
25–34 (baseball) |
|  | |