A camel train is a series of camels carrying goods or passengers or both in a group as part of a regular or semi-regular service between two points. Although they rarely travelled faster than the walking speed of a man, camels' ability to handle harsh conditions made them ideal for communication and trade in the desert areas of northern Africa and the Arabian Peninsula for centuries, though they could only travel on routes with sufficient sources of food and water. Camel trains were also used sparingly elsewhere across the globe but during the 20th century they have been largely replaced by motorized vehicles or air traffic.

By far the greatest use of camel trains occurs in North Africa, to conduct trade in and around the Sahara Desert. In antiquity, the Arabian Peninsula was an important route for the trade with India and Abyssinia.

Camel trains have also long been used in portions of trans-Asian trade, including the Silk Road. As late as the early twentieth century, camel caravans played an important role connecting the Beijing/Shanxi region of eastern China with Mongolian centers (Urga, Uliastai, Kobdo) and Xinjiang. The routes went across Inner and/or Outer Mongolia. According to Owen Lattimore, who spent five months in 1926 crossing the northern edge of China (from Hohhot to Gucheng, via Inner Mongolia) with a camel caravan, demand for caravan trade was only increased by the arrival of foreign steamships into Chinese ports and the construction of the first railways in eastern China, as they improved access to the world market for such products of western China as wool.

James Asher is an English multi-instrumentalist, composer and record producer, focusing on world music, trance music and New Age music.

Born in a suburb of London in the early 1950s, Asher began to study the violin at the age of seven. As a teenager, he participated in his school choir and orchestra, of which his father was the chief instructor.

Following his traditional musical education, Asher taught himself the drums and the keyboard and later apprenticed himself at several recording studios in the UK. In 1979, Asher opened his own studio, Starfield, and released his first single, "Peppermint Lump", which was produced by Pete Townshend. However, Asher's initial focus at Starfield was primarily on the bread-and-butter work afforded by the commercial soundtrack industry. During its first decade of operation, Asher licensed over 20 soundtracks to the likes of Cinema Euro Group, Central TV, Grenada TV, Channel Four and MTV.

In 1988, Asher released his first full-length, commercial album, The Great Wheel, which reached number 13 on Billboard magazine's New Age Music Chart. In 1996, Asher signed with New Earth Records and released Feet in the Soil, which combined elements of African percussion, Australian aboriginal music, and electronic programming. Edified by the success of the burgeoning "world music" category, as evidenced by releases by contemporaries Peter Gabriel, Johnny Clegg, David and Steve Gordon (Sacred Earth Drums) and David Byrne's world music record label, Luaka Bop, Feet in the Soil sold nearly 100,000 copies within the first 18 months of its initial release and has sold nearly 200,000 copies overall, according to New Earth Records president, Bhikkhu Schober.

James Carey (1845–1883) was a Fenian and informer most notable for his involvement in the Phoenix Park murders.

Carey was son of Francis Carey, a bricklayer, who came from Celbridge, in Kildare, to Dublin, where his son was born in James Street in 1845. He also was a bricklayer, and for 18 years continued in the employment of Michael Meade, builder, Dublin. He then started business on his own account as a builder at Denzille Street, Dublin. In this venture he was successful; he became the leading spokesman of his trade and obtained several large building contracts.

During all this period Carey was engaged in a nationalist conspiracy, but to outward appearance he was one of the rising men of Dublin. Every one believed in his piety and public spirit; there was hardly a society of the popular or religious kind of which he did not become a member, and at one time he was spoken of as a possible lord mayor. In 1882 he was elected a town councillor of Dublin, not on political grounds, but, as he himself said, solely for the good of the working men of the city.