Governance.

Ringmer is part of the electoral ward called Ouse Valley and Ringmer. the population of this ward at the 2011 census was 6,422.

Landmarks.

Ringmer Mill stood for centuries on Mill Plain overlooking Ringmer. This post mill was in operation until 1921 but collapsed in 1925 leaving the mill post, on which the body of the mill rotated, remaining as a local landmark.  Plashett Park Wood is a Site of Special Scientific Interest partly in the parish. It is a site of biological importance as an area of ancient woodland. Plashett Wood and the adjoining Plashett Park Farm provide habitats for a wide variety of breeding birds and bats, plus a number of rarer invertebrates and flora.

Sport and leisure.

Ringmer has a Non-League football club AFC Ringmer who play at The Caburn ground.

2006 fireworks factory fire.

On 3 December 2006 the Festival Fireworks factory which is located in the parish, near Shortgate, caught fire detonating the display pyrotechnics stored on the site. Successive explosions then followed for more than eight hours. Sussex Police, which described it as "a serious incident", established a exclusion zone around the factory. Television pictures showed a large fireball at the centre of the blaze. Two members of Sussex fire services died and nine fire service workers were injured along with two members of the public and a police officer. Hundreds of rockets continued to explode more than five hours after the initial blasts.

Ringmer is a village and civil parish in the Lewes District of East Sussex, England. The village is located east of Lewes. Other small settlements in the parish include Upper Wellingham, Ashton Green, Broyle Side, Little Norlington and Shortgate.

Ringmer est un village et une paroisse civile du Sussex de l'Est, en Angleterre. Il est situé à environ à l'est de la ville de Lewes. Administrativement, il relève du district de Lewes. Au recensement de 2011, il comptait.


History.

The company was launched by former Apple CEO John Sculley as Obi Mobiles in 2014. Sculley saw a gap in the market for well-designed budget handsets and got in contact with former Director of Industrial Design, Robert Brunner (now a co-founder of Ammunition Design Group) who came up with the raised screen design found on all Obi smartphones. Ammunition subsequently designed the chassis and operating system skin the phones run on, "Obi Lifespeed".  Obi Mobiles started operations in India in July 2014. Following an unsuccessful launch, the company withdrew from India at the beginning of 2015 (with plans re-entering at the end of the year) and relaunched the brand as Obi Worldphone shortly after.  The newly branded company launched two of their pioneer low cost smartphones on August 27, 2015. Both models are based upon Android as their operating system. Their third phone, the MV1, was announced in February 2016, and was released to Asian, African, Latin American and European markets in March 2016.  In July 2015, Obi had a 5.7% smartphone market share in the UAE, making it the company's strongest global market.

Products.

SF1.

Launched on August 27, 2015, this phone with a raised 5-inch touchscreen display with a resolution of 1080 pixels by 1920 pixels at a PPI of 443 pixels per inch (PPI). The phone comes with a self-developed fork of the Android Operating System called "Obi Lifespeed". The device also features Dolby Audio multi-channel audio, noise cancellation, and utilizes a Qualcomm Snapdragon 615 processor, an Adreno 405 GPU, and a 3000 mAh battery. It can access 4G networks. The device comes in 32GB + 3GB / 16GB + 2GB (respectively Storage and RAM) combinations, and a choice of black or white. The initial retail price for the device is $199 and comes unlocked.

SJ1.5.

This device was launched at the same time as the SF1, and also has a 5-inch touchscreen display, however a lower resolution, lack of 4G, and lack of some luxuries lends this phone a cheaper $129 retail price. The device is all plastics in a range of colors and comes with 16GB of storage and a 3,000 milliamps battery. Both the SF1 and SJ1.5 feature a dual SIM tray.

MV1.

The MV1 has a 5” Gorilla Glass 3 display with 1280 x 720 (HD) resolution, it runs on a Qualcomm Snapdragon 212 processor, 2GB of RAM, and 16 GB of Storage. It features a dual SIM tray.

Partnerships.

In 2016, Obi Worldphone partnered with Skullcandy in Vietnam to give away prizes with every pair of earbuds they sell, as part of their "Obi Worldphone Experience Day (NGÀY HỘI TRẢI NGHIỆM Obi Worldphone).

Awards.

In 2015, Obi Worldphone's SF1 was voted the 5th best smartphone available in Vietnam in VNExpress' "TechAwards 2015" (Sản phẩm Công nghệ xuất sắc 2015).

Obi Worldphone, previously Obi Mobiles, is a Silicon Valley smartphone manufacturer founded in 2014 by former Apple Inc. and PepsiCo CEO John Sculley. Obi Worldphone manufactures smartphones aimed at the emerging markets rather than very competitive developed markets.

Obi Worldphone est une entreprise américaine crée en 2014. L'entreprise est fondée en 2014, par l'ancien DG de Pepsi et d'Apple John Sculley.


Teams.

24 teams were invited to take part in the race. These included eleven UCI WorldTeams, six UCI Professional Continental teams, and seven UCI Continental teams.

Route.

The route for the race was announced on 8 December 2016.

Classification leadership table.

In the 2017 Volta ao Algarve, four different jerseys were awarded. For the general classification, calculated by adding each cyclist's finishing times on each stage, and allowing time bonuses for the first three finishers at intermediate sprints and at the finish of mass-start stages, the leader received a yellow jersey. This classification was considered the most important of the 2017 Volta ao Algarve, and the winner of the classification was considered the winner of the race.  Additionally, there was a points classification, which awarded a red jersey. In the points classification, cyclists received points for finishing in the top 10 in a mass-start stage. For winning a stage, a rider earned 25 points, with 20 for second, 16 for third, 13 for fourth, 10 for fifth, 8 for sixth, 6 for seventh, 4 for eighth, 2 for ninth and 1 for tenth place. Points towards the classification could also be accrued at intermediate sprint points during each stage; these intermediate sprints also offered bonus seconds towards the general classification. There was also a mountains classification, the leadership of which was marked by a blue jersey. In the mountains classification, points were won by reaching the top of a climb before other cyclists, with more points available for the higher-categorised climbs.  The fourth jersey represented the young rider classification, marked by a white jersey. This was decided in the same way as the general classification, but only riders born after 1 January 1994 were eligible to be ranked in the classification. There was also a classification for teams, in which the times of the best three cyclists per team on each stage were added together; the leading team at the end of the race was the team with the lowest total time.

The 2017 Volta ao Algarve was a road cycling stage race that took place in the Algarve region of Portugal between 15 and 19 February 2017. It was the 43rd edition of the Volta ao Algarve and was rated as a 2.HC event as part of the 2017 UCI Europe Tour.

La du Tour de l'Algarve a eu lieu du 15 au. La course fait partie du calendrier UCI Europe Tour 2017 en catégorie 2.HC. La course est remportée par le coureur slovène Primož Roglič de l'équipe Lotto NL-Jumbo, devant Michał Kwiatkowski (Team Sky) et Tony Gallopin (Lotto-Soudal).


Formation.

From D'Element to VENA.

After the group Aventura announced their separation in 2011, Lenny and Max formed their new bachata group called "D'Element". They released their first single song called "You & Me". Steven, ex-vocalist from bachata group Xtreme, went to Lenny as a client to work on music. Lenny produced a song for Steve called "Señora". After producing the song for Steve, he asked if he would like to join his new group D'Element. Steve accepted the offer. They renamed the group and formed VENA. They adapted the "Bachata Supergroup" concept as members from two former popular bachata groups merged into one. They released their first single "Señora" in 2011 and their second single "Ya No" in 2012. They both did well commercially and became top radio hits. Since then they have released countless top charting songs, such as "Corazon de Hierro (feat. Teodoro Reyes and Frank Reyes)", "Por Mentiras" among others. They released "It Wont Stop" featuring Aileen, a cover of Sevyn Streeter's "It Wont Stop (featuring Chris Brown)" in 2014, just before their latest hit single "Dile a El" was released in early December 2014. Due to problems with the groups manager, Steve left the group in 2015 to pursue a solo career. Max left the group to pursue and focus on his rap career which he was supposed to do back when Aventura first separated. Lenny released the group's final single "El Final" featuring Mike Stanley, which was written by ex-member Steve. Steve released his version of "El Final" as well.

From VENA to DNA Latin Group.

Lenny, alongside new talent J Love, released their first single "Lujuria" in 2018 under the group's new name DNA Latin Group. They released their second single "Hermanita". Max then re-joined the group and they released their third single "Soy Tu Delirio." Since then they have been working on new music, which is planned to be released in 2019. Ironically, Steve, who reunited with Xtreme, performed alongside former group DNA for a "Mega Bachaton" Reunion Tour.

Discography.

Singles.

As D'Element  As VENA  As DNA Latin Grou

Vena, currently DNA Latin Group, is an American bachata group formed by members Lenny Santos and Max Santos from Aventura alongside ex-vocalist Steven Tejada from Xtreme. They are known for their hits such as "Sangre de Mis Venas", "Corazon de Hierro (featuring Teodoro Reyes & Frank Reyes)", "Señora", "Dile a El", "Por Mentiras", among others. VENA alongside Larry Hernandez were nominated for a Billboard Premious Musica Mexicana award in 2012.

Vena (ou Grupo Vena) est un groupe de bachata américain formé par les deux frères Lenny et Max Santos, anciens membres du groupe Aventura puis du duo D'Element, et Steve Styles, chanteur du groupe Xtreme.


Plot.

The "Enterprise" is summoned to Deep Space Station K7 by a "priority one" distress call, used only in case of disaster. On arrival, Captain James T. Kirk (William Shatner) is infuriated to learn that there has been no disaster; the distress call was ordered by Nilz Baris (William Schallert), the Federation Undersecretary of Agricultural Affairs, who only wants guards for his shipments of quadrotriticale grain bound for Sherman's Planet. The grain is crucial for the Federation's plan to develop the planet and claim it under the terms of the Organian Peace Treaty. Starfleet Command shares Baris's concerns and orders Kirk to cooperate.  As the "Enterprise" crew enjoy shore leave on the station, interstellar trader Cyrano Jones (Stanley Adams) arrives with goods for sale, among them purring balls of fluff called tribbles. He gives one to Lt. Uhura (Nichelle Nichols), who brings it on board the "Enterprise", where it quickly begins to reproduce. The human crew adore the creatures and Uhura gives the offspring away.  A Klingon ship arrives under the command of Captain Koloth (William Campbell), who invokes his right under the Organian treaty to shore leave for his crew.  The tribbles, multiplying rapidly on the station and on the enterprise,are loved by the humans, and make cooing trills which the Enterprise crew (even the stoic Spock) find soothing. However, tribbles jump and screech in disgust when around the Klingons, and the feeling

Production.

Writing.

The episode was the first professional work of writer David Gerrold, and went through a variety of drafts before it reached the screen. Because his typewriter used a less common, smaller size font, an approved version needed to be reduced by twenty pages before filming.  Gerrold had been a fan of science fiction since he was a child. When "Star Trek" was first broadcast, he was concerned that it might turn into something similar to "Lost in Space", which he has described as "one full-color hour of trash reaching into millions of homes". His first story outline was sent into "Star Trek" after his agent suggested that he waited until the shows started to air under the theory that the show might drop an existing episode in favor of a better script. The story was entitled "Tomorrow Was Yesterday" (not to be confused with the Star Trek episode "Tomorrow Is Yesterday") and concerned the "Enterprise" coming across a generation ship which had descended into a two-tier class system. His agent received a rejection letter from producer Gene L. Coon dated October 3, 1966. The letter stated that the "outline was by no means inadequate. It is, as a matter of fact, very adequate." It went on to say that it would require a budget larger than that available to television, but would

Filming.

The use of live animals to represent the tribbles was immediately ruled out. According to Gerrold's account, the inspiration for the form of the tribble instead came from a fluffy keyring owned by Holly Sherman. Sherman's Planet in this episode was subsequently named after her. The design came from Wah Chang, but they were individually sewn by Jacqueline Cumeré. She was paid $350 to sew five hundred tribbles from synthetic fur and stuff them with foam rubber. Six ambulatory tribbles were made using the mechanisms of walking toy dogs, which

Casting.

William Campbell had previously appeared in the first season episode "The Squire of Gothos" as Trelane. In "The Trouble with Tribbles", he portrayed the Klingon Captain Koloth. At various points "Star Trek" creator Gene Roddenberry claimed it was his intention to bring back Koloth during the third season of "The Original Series", as Kirk's recurring Klingon adversary. Some internal production documents contradict this story. Although Koloth returned in "", Campbell did not voice the role. He returned to the role in 1994 for an episode of "Star Trek: Deep Space Nine", entitled "".  At the time of casting, William Schallert had just finished filming the ABC sitcom "The Patty Duke Show". He described himself not as a fan,

Reception.

While initial fan reaction to the episode was mixed, it was more popular with the general public. Critical response to the episode was positive, and it was nominated for the Hugo Award for Best Dramatic Presentation which instead went to fellow "Star Trek" episode "The City on the Edge of Forever". It has since been included in several "best of" episode lists and features, including as part of the Best of DVD collection alongside three other episodes. It has also been released as part of the season two DVD box set.

Broadcast.

"The Trouble with Tribbles" was first broadcast in the United States on December 29, 1967 on NBC. The initial fan reaction was undecided, but the episode connected better with the mass

Retrospective critiques.

"The New York Times" described the scene with Kirk and the tribbles in the grain container as one of the "best-remembered moments" of the series. "Time" magazine ranked "The Trouble with Tribbles" as the sixth best moment in "Star Trek". IGN ranked it as the fifth best episode of "The Original Series", while TechRepublic ranked it as the fourth best. "The A.V. Club" included "The Trouble with Tribbles" in a list of ten must-see episodes, and "USA Today"' listed as one of the three best. In 1998, "The Trouble with Tribbles" was listed as the eighth best cult moment of all time by "The Times" newspaper. In a list of the top 100 episodes of the "Star Trek" franchise, "The Trouble with Tribbles" was placed sixth by Charlie Jane Anders at io9.  Zack Handlen's July 2009 review for "The A.V. Club" gave the episode a grade of A. Cyrano Jones was Handlen's least favorite part of the episode, and with the

Awards.

The episode was nominated for Best Dramatic Presentation at the 1968 Hugo Awards. All of the nominees that year were

Home media release.

"The Trouble with Tribbles" was one of the first episodes to receive an official release by Paramount Home Entertainment. In 1980, it was released on VHS on a two-episode tape alongside "Let That Be Your Last Battlefield". It was re-released towards in 1991 as part of the first full-season release on VHS. This was re-released in 1993, and was released on laserdisc. In 1998, a "Talking Tribble Gift Set" was released which contained both "The Trouble with Tribbles" and "Trials and Tribble-ations" on VHS. The first DVD release was in 2000,

Legacy.

More Tribbles, More Troubles.

"The Trouble with Tribbles" was originally intended to have a follow-up episode during season three, but after Gene Roddenberry stepped back from the production of the show after a time-slot change and further cuts in the budget, the idea was scrapped. In 1973, Gerrold had become friends with D. C. Fontana from their time spent on the "Star Trek" convention circuit together. He had heard about "Star Trek: The Animated Series", and offered to do an episode.

Trials and Tribble-ations.

To celebrate the 30th anniversary of "Star Trek" in 1996, producers of both "" and "" decided to incorporate elements of "The Original Series" into episodes. The "Voyager" episode "" showed events on board the "Excelsior" under Captain Hikaru Sulu during the period in which Kirk and McCoy were imprisoned on Rura Penthe in "". However, the "Deep Space Nine" homage used the original footage from nineteen scenes in "The Trouble with Tribbles" and other episodes in order to digitally insert the actors into the events of the episode, entitled "Trials and Tribble-ations". The episode was nominated for three Emmy Awards and as with the original episode, the Hugo Award for Best Dramatic Presentation.

Erroneous claims.

On the 2016 home video release The Roddenberry Vault, in a commentary track for the episode Gerrold states of the episode: "This was the first time the word 'pregnant' was used on

Further appearances and parodies.

Tribbles have been further seen in other "Star Trek" episodes and films, including "" and the JJ Abrams-helmed films "Star Trek" (2009) and "Star Trek Into Darkness" (2013). While on a visit to the set of "Star Trek", Gerrold was told by Abrams that the tribble had been deliberately "snuck in" to the scene. It appears in the scene where Kirk (Chris Pine) and Spock Prime (Leonard Nimoy) meet Scott (Simon Pegg) on the Vulcan moon. "The Trouble with Tribbles" was also re-imagined in that timeline's comic book series by IDW Publishing and entitled "The Truth About Tribbles".  In 2003, tribbles appeared in the "Star Trek: Enterprise" episode "". In that episode, Doctor Phlox (John Billingsley) uses them as food for his medicinal pets in sickbay.  Gerrold has been in discussions with the fan-created series "" to bring back the tribbles for a further "Original Series" era episode. Both his "Original Series" pitch "The Protracted Man" and his

Merchandising and adaptations.

Gerrold published a book describing his experiences in the creation of "The Trouble with Tribbles". Entitled "The Trouble with Tribbles: The Birth, Sale and Final Production of One Episode", it was published in 1973. The book was well-received by the former cast and crew of "Star Trek" and was used as a textbook for teaching screenwriting.  A variety of tribble replicas have been made over the years, with the most recent licensed product coming from QMx, released in 2013. A plate to commemorate the episode was the first to be launched as part of an eight-plate "Star Trek: The Commemorative Collection" in 1986. It featured an image of

"The Trouble with Tribbles" is the fifteenth episode of the of the American science fiction television series "". Written by David Gerrold and directed by Joseph Pevney, it was first broadcast on December 29, 1967.

Tribulations ("The Trouble with Tribbles") est le quinzième épisode de la deuxième saison de la série télévisée "Star Trek". Il fut diffusé pour la première fois le sur la chaîne américaine NBC.


Other languages.

In Italian it is known as the Madonna della Misericordia (Madonna of Mercy), in German as the Schutzmantelmadonna (Sheltering-cloak Madonna), in Spanish as the Virgen de la Merced or Nuestra Señora de la Misericordia (Virgin of Mercy), in French as the Notre-Dame de la Merci (Our Lady of Mercy), in Polish as the Matka Boża Miłosierdzia (Mother of God of Mercy), in Portuguese as the Nossa Senhora das Mercês, in Catalan as the Mare de Déu de la Mercè and in Greek as the Παναγιά του ἐλέους.

Pictorial tradition in Christian art.

Probably the oldest version known is a small panel by Duccio of c. 1280, with three Franciscan friars under the cloak, in the Pinacoteca in Siena. Here the Virgin sits, only one side of the cloak is extended, and the Virgin holds her child on her knee with her other hand.  A miniature of c. 1274 from the Armenian Kingdom of Cilicia also shows a variant of the motif, as do 13th century paintings in Cyprus, such as an icon in the Byzantine Museum in the Archbishop's Palace, Nicosia.  The common factor between all these is the influence and presence of Western mendicant orders, especially the Franciscans, who appear to have been important in spreading this form of iconography.  The immediate inspiration of the iconography comes from a vision reported in the "Dialogus Miraculorum" of the Cistercian Caesarius of Heisterbach which circulated widely from about 1230. Beyond that, the origins of the image may relate to rituals and a vision or miracle connected with a famous icon in the Blachernae Church in Constantinople.  This gave rise in the Byzantine Rite (Eastern Orthodox and Eastern Catholic Churches) to the Pokrov icons, although the image is not found in Byzantine art. In the Pokrov icons the thought is similar, but the image is usually less literal – the veil with which the Virgin protects mankind is small and held either in her hands or by two angels, though the Western version with a larger cloak is found in some Eastern Orthodox icons, one of a number of Western iconographic features that infiltrated Orthodox art, whether in Cyprus under the Crusaders or 16th-century Eastern Europe.  The image also fits well with the words of the ancient hymn "Sub tuum praesidium", probably composed in the 3rd century, and used in most pre-Reformation churches of both the Western and Eastern churches.  Usually the image, whether in sculpture or painting, stands by itself. Nevertheless, in the most famous example, the Madonna della Misericordia altarpiece (1445–1462) in Sansepolcro by Piero della Francesca, the subject is the central panel of a large altarpiece, with a smaller Crucifixion above it, and many other panels.  The image came in for special derision from Martin Luther, who compared it to "a hen with her chicks".  In the Spanish "The Virgin of the Navigators" of the 1530s, where those sheltered are a group connected with the Spanish voyages to the New World, including American indigenous peoples, the group is shown over a panorama of ships at rest in a harbour.  In Germany during the Middle Ages, an almost identical image was used featuring Saint Ursula, usually holding her attribute of an arrow to avoid confusion.  In this pictorial tradition, also the iconography of the Works of mercy alludes sometimes to the Virgin of Mercy, such as Caravaggio in his huge painting in Naples, because in 1606/07 it was commissioned for the church of the Confraternita del Pio Monte della Misericordia.

Veneration.

The liturgical feast day of Our Lady of Mercy is celebrated annually in the General Roman Calendar on September 24.  One of the most famous shrines of the Virgin of Mercy is located in the Gate of Dawn in Vilnius. The Divine Mercy image and Divine Mercy Sunday were celebrated for the first time there thanks to the effort of blessed Michał Sopoćko who fulfilled the wish of Jesus revealed to saint Faustina Kowalska.  Our Lady of Mercy is the co-patroness, along with St. Mark, of the Roman Catholic Diocese of Venice in Florida.  Churches dedicated to her include the cathedral of Guasdualito in Venezuela and the National Shrine of La Virgen de las Mercedes, also known as "El Santo Cerro" in La Vega, Dominican Republic.

Other contexts.

The term "Virgin of Mercy" is found in a number of other contexts not directly related to the image. It is a common translation of the Eleusa type of icon of the Virgin and Child.  The Virgin of Mercy is patron saint of Barcelona, celebrated in the week-long La Mercè festival each year, but in this role is not especially associated with this type of image. The Order of the Blessed Virgin Mary of Mercy, founded, also in Barcelona, in 1218 by Saint Peter Nolasco, has used the image but is not particularly associated with it.  In Santería, the Virgin of Mercy is syncretized with Obatala.

The Virgin of Mercy is a subject in Christian art, showing a group of people sheltering for protection under the outspread cloak, or pallium, of the Virgin Mary. It was especially popular in Italy from the 13th to 16th centuries, often as a specialised form of votive portrait, and is also found in other countries and later art, especially Catalonia and Latin America.

Notre-Dame de la Merci (En catalan : "Nostra Senyora de la Mercé", en espagnol : "Nuestra Señora de la Merced") est un vocable de la Vierge Marie lié à la fondation de l'ordre de Notre-Dame-de-la-Merci en 1218. La fête de Notre-Dame de la Merci est le 24 septembre.


Organismes chargés de l'application de la loi en Espagne

History.

The medieval kings of León, Castile and Aragón were often unable to maintain public peace, protective municipal leagues began to emerge in the twelfth century against bandits and other rural criminals, as well as against the lawless nobility or mobilized to support a claimant to the crown. These organizations were individually temporary, but became a long-standing fixture of Spain.  The first recorded case of the formation of an "hermandad" occurred when the towns and the peasantry of the north united to police the pilgrim road to Santiago de Compostela in Galicia, and protect the pilgrims, a major source of regional income, against robber knights. With the countryside virtually everywhere effectively in the hands of nobles, throughout the High Middle Ages such brotherhoods were frequently formed by leagues of towns to protect the roads connecting them. The "hermandades" were occasionally co-opted for dynastic purposes. They acted to some extent like the Fehmic courts of Germany. Among the most powerful was the league of northern Castilian and Basque ports, the "Hermandad de las Marismas": Toledo, Talavera, and Villa Real.  As one of their first acts after the War of the Castilian Succession, Ferdinand and Isabella "brought peace by the brilliant strategy of organizing rather than eliminating violence;" they established a centrally organized and efficient Holy Hermandad ("Santa Hermandad") with themselves at its head. They adapted the existing form of the "hermandad" to the purpose of creating a general police force under the direction of officials appointed by themselves, and endowed with large powers of summary jurisdiction, even in capital cases. The rough and ready justice of the "Santa Hermandades" became famous for brutality. The original "hermandades" continued to serve as modest local police units until their final suppression in 1835.

20th century.

Today the principal forces of public order and security as of 1988 were the Civil Guard, founded in 1844, and the National Police Corps, founded in 1986. The Civil Guard, fortified by nearly a century and a half of tradition, was a highly disciplined paramilitary body with close links to the Spanish army. As it evolved, it served mainly as a rural police to protect property and order and to reinforce the authority of the central government.  Under Francisco Franco, a tripartite system of police was formalized: the Civil Guard in rural areas; the Armed and Traffic Police (renamed the National Police in 1979), which fulfilled normal police functions in communities with a population of more than 20,000; and the Higher Police Corps of plainclothes police with responsibility for investigating crimes and political offenses. Separate municipal police forces under the control of local mayors were concerned mainly with traffic control and with enforcement of local ordinances.  The transition from Franco's dictatorship to a system of parliamentary democracy was accompanied by a major effort to bring the forces of law and order and the justice system into harmony with the new political era. The police were stripped of most of their military characteristics. The Civil Guard, which maintained order in rural areas and in smaller communities, retained many of its military features, but both the civil Guard and the police were placed under civilian leadership.  Once dedicated to repressing all evidence of opposition to the Franco regime, the police and the Civil Guard were expected to tolerate forms of conduct previously banned and to protect individual rights conferred by the 1978 Constitution and by subsequent legislation. Members of the Civil Guard continued to be implicated in cases of mistreatment and brutality in the campaign against Basque terrorism. The authorities had, however, prosecuted many guardsmen for such infractions, with the result that by 1988 fewer violations of legal norms were being recorded.  Reforms of the judicial system included appointments of judges by a body insulated from political pressures and increased budgets to enable courts to deal with a chronic backlog of criminal hearings. The penal code was being modernized to bring it into conformity with the new Constitution. Some progress had been made in ensuring that defendants had effective legal representation and that they received speedier trials. Nevertheless, antiquated procedures and the escalation of crime continued to generate huge delays in the administration of justice, with the result that as much as half of the prison population in 1986 consisted of accused persons still awaiting trial.  During the Franco era, the police had been regarded as a reactionary element, associated in the public mind with internal surveillance and political repression. The Civil Guard and the Armed and Traffic Police were legally part of the armed forces, and their senior officers were drawn from the army. The 1978 Constitution effects the separation of the police from the military, and it emphasizes that one of the functions of the police is to safeguard personal liberties. Article 104 of the 1978 Constitution states that, "The Security Corps and Forces, responsible to the Government, shall have as their mission the protection of the free exercise of rights and liberties and the guaranteeing of the safety of citizens."  Although considerably delayed, a subsequent statute, the Organic Law on the Security Corps and Forces, was enacted in March 1986 to incorporate the mandate of the Constitution to redefine the functions and the operating principles of the police forces. With its passage, the final legal steps had been taken to make the police system conform to the requirements of the democratic regime, although most observers concluded that it would be years before the reforms were fully in effect.  The new organic law provided a common ethical code for police practices, affirmed trade union rights, recast the role of the judicial police serving under the courts and the public prosecutors, combined the uniformed and the nonuniformed police into the single National Police Corps, and redefined the missions and the chains of command of the various police elements. The Civil Guard remained a separate paramilitary force, although in operational matters it was under the direction of the Ministry of Interior rather than the Ministry of Defense.  In time of war or emergency, it would revert to the authority of the minister of defense. In 1986 a new post of secretary of state for security was created in the Ministry of Interior to coordinate the activities of the National Police Corps and the Civil Guard. The National Police Corps functioned under the directives of the director general of the National Police Corps, but local supervision was exercised by civil governors of the provinces where police forces served.  Although their powers were, in most cases, quite limited, the local police services of individual towns and cities supplemented the work of the National Police Corps, dealing with such matters as traffic, parking, monitoring public demonstrations, guarding municipal buildings, and enforcing local ordinances. They also collaborated with the National Police Corps by providing personnel to assist in crowd control. Numbering about 37,000 individuals in 1986, the local police were generally armed only with pistols.  Under the Statutes of Autonomy of 1979, the Basque Country and Catalonia were granted authority to form their own regional police forces. Subsequently, ten of the seventeen autonomous regions were extended the right to create their own forces, but, as of 1988, only three areas—the Basque Country, Catalonia, and Navarre—had developed regional police units. The 1986 organic law defined the limits of competence for regional police forces, although the restrictions imposed did not apply to the existing forces in the Basque Country and Navarre and applied only in part to those in Catalonia.  Under the law, regional police could enforce regional legislation, protect regional offices, and, in cooperation with national forces, could police public places, control demonstrations and crowds, and perform duties in support of the judiciary. A Security Policy Council was established at the national level to ensure proper coordination with the new regional forces, which, as of 1986, numbered about 4,500 officers.

Forces.

National.

National Police serving as "de facto" autonomous police.

Their missions are the custody of buildings belonging to the Principalities, VIP escort, coordination and control of safety functions to private security companies and inspection and control of the game. Their uniforms are identical to the rest of the national police, although they carry distinctive insignia of the Principality they are attached to: the flag on the right arm and the shield on the cap. Their vehicles have a different livery.

Law enforcement in Spain is carried out by numerous organizations, not all of which operate in the same areas. Locally, all enforcement agencies work together closely, and in serious matters, usually under the guidance of an Examining magistrate. Operational policy and major interventions are nationally coordinated under the direction of the Ministry of the Interior.

Les forces et corps de sécurité de l'État, en droit espagnol, sont un ensemble de forces de sécurité à caractère professionnel et permanent, que la loi organique 2/1986 met au service des administrations pour le maintien de la sécurité publique.


Musée du Cinéma - Collection Tomàs Mallol

Origin.

On April 8, 1998, the Museu de Cinema – Col•lecció Tomàs Mallol was opened in the city of Girona. This museum is unique in its field in Spain and one of the few of its kind in Europe. The origin of the Museu de Cinema must be found in the labour of Tomàs Mallol (born in Sant Pere Pescador, Catalonia, in 1923), in his passion for art and especially cinema technique, which arose in him at an early age with open-air projections in the main square of his home town. An amateur filmmaker, from 1956 to 1977 Tomàs Mallol made 31 short films, some of which won awards in Spain and Internationally in the middle of the 1960s, he began to collect various cinema instruments that would later become the nucleus of his collection. This was also the time he began his intense activity of researching and see¬king out objects of interest. This would lead him over a period of more than 30 years to build a collection related to pre-cinema and cinema from the earliest years that is now recognized as the most important in Spain and one of the most outstanding in Europe. In January, 1994, the City of Girona acquired this collection with the goal of making it into the foundation of the Museu de Cinema - Col•lecció Tomàs Mallol, which is located in a three-floor building of almost 3000 square metres that is found in the centre of Girona.

Tomàs Mallol Collection.

Currently the Tomàs Mallol Collection is made up of approximately 12,000 pieces, including instruments, accessories, photographs, engravings and paintings, along with 2000 posters and film publicity material, 800 books and magazines and 750 films in all formats. These objects can be set into a chronological period that runs from the seventeenth century to 1970. The collection features important objects from the history of pre-cinema and early cinema that are absolutely unique. Yet what really makes it exceptional is that it allows us to follow and understand the history of images and the evolution of audiovisual spectacles step by step, from Chinese shadow theatre puppets to the first years of cinema

Permanent Exhibition.

The visit through the 1500 square metres of exhibition space begins on the lower floor, with an audiovisual display that works as a prologue. The background voice of a generic spectator tells us how over time he has always been surprised and fascinated by the multitude of visual spectacles that have taken place, each with different techni¬ques, increasingly complex. It then invites visitors, spectators like him, to enter into the permanent exhibition, where they will embark on a journey through 400 years of the history of images and relive the emotions that our ancestors experienced in viewing them.  The first section, on the third floor, is dedicated to Chinese shadow theatre puppets, an art with ancestral origins: for the first time light, darkness and the screen were used to create the spectacle. Next, in the interior of a room without light the camera obscura allows us to see the reflection of the exterior images of the world, and understand why this phenomenon is the basis on which the technique of photography and cinema is founded. The next section is dedicated to mirrors, which allowed us to capture ephemeral images of the world generating optical games that drew the attention of science and the esoteric interests of the past Following on this, we observe one of the essential sections of the museum, dedicated to the magic lantern. Two hundred years before the invention of cinema, the magic lantern converted the projection of images into a form of mass entertainment for the first time, providing information and serving as an educational tool. The magic lantern is the clearest precedent of cinema both as technique and as spectacle. In the seventeenth and eighteenth centuries, instruments were built to enable the human hand to fix the images captured by the camera obscura. The exhibition shows what these tools were, the resulting images and how they could be observed by means of peep show or the Mondo Nuovo, a travelling show that introduced viewers to far-off cities and landscapes without leaving their homes. Afterwards, the visitor can see how photography was able to reproduce precise images of reality, thanks to advances in chemistry and the camera obscura. Now on the second floor, the exhibition continues with instruments based on the principle of the persistence of vision that began to generate the illusion of moving Images, even though they were simply drawings that were animated through repetitive movements After this, we enter into the section dedicated to the definitive path towards cinema as we know it, when in the twenty years preceding its invention scientists the world over began an increasingly accelerated race towards the discovery of the projection of photographic images in movement. Finally, the visitor comes to a space that refers to the historical moment itself, on December 28, 1895. On that day, in the Salon Indien, found in the cellar of the Grand Café in Paris, the Lumière brothers offe¬red the first paid public projection with an instrument of their own invention the cinematograph. From that moment onwards we move into the first years of cinema, beginning with the magician Georges Méliès, who discovered its illusory possibilities through the introduction of image manipulation. The section also looks at the rapid spread of cinema throughout the world, its technological evolution, how it began to create its own language until becoming a new art and a new industry, and, finally, how starting with the 1930s it would be faced with a competitor: television. At the end of this space, one audiovisual presentation invites us to contemplate representative ima¬ges of 100 years of cinema, while another looks at the way a film is made in our day. On the first floor, at the end of the visit, we find two examples of how the magic of cinema pertains to amateurs and children as well. Instruments related to amateur film from the early period and to children's cinema, especially with the popular Cine NIC, are shown in these final metres of the permanent exhibition The exhibition concept is not limited to merely setting out the most important parts of the Tomàs Mallol Collection (with nearly 1500 objects on display). It also seeks to work as an Interactive display that is friendly and educational. For this reason, various audiovisual and theatrical projections are set into the visit (giving us an idea of what early visual spectacles were like), along with replicas of the objects shown so that visitors can handle them, understand how they once worked and see the images they would produce. All told this ensures that the exhibition, through the themes it deals with and the way it is presented, is ideal for all kinds of visitors, regardless of age, educational level, nationality, cultural background, language or interest in cinema. It is a universal discourse allowing everyone to enjoy this world of images.

Objectives and services.

Nevertheless, the global objective of the Museu de Cinema goes beyond the permanent display of the Tomas Mallol Collection. Its aim is to encourage wider knowledge, learning and research in the field of cinema and of images in general. So as to achieve this goal the museum has various services directed to its potential users, including an ongoing programming of temporary exhibitions and activities, an educational service with a generous program of visits, workshops and film-related activities for schools, the Institut d'Estudis (research institute) with its specialized library, videotheque and consultation service related to the museum's holdings, the friends of the museum, called the Club de Actors, and the museum shop, amongst others. Now that cinema has entered into the second century of its life, the Museu de Cinema presents itself as an homage to all those men and women who, through their efforts and creativity, made it possible to fascinate audiences by means of moving ima¬ges. The Museu is also there in support of the future of audiovisual communication media, whose development is in constant evolution.

The Cinema Museum - Tomàs Mallol Collection is a museum dedicated to the world of film and moving images. It was created in the city of Girona (Catalonia) from the Tomàs Mallol Collection of pre-cinema and cinema objects, which was acquired in 1994 by the City Council of Girona. The museum was inaugurated on April 8, 1998, the first of its kind in Spain, which hosts a variety of material of cinema and precinema.

Le musée du cinéma - collection Tomàs Mallol est un musée situé à Gérone, dans la communauté autonome de Catalogne en Espagne.


Design.

German Type VIIC/41 submarines were preceded by the heavier Type VIIC submarines. "U-1018" had a displacement of when at the surface and while submerged. She had a total length of, a pressure hull length of, a beam of, a height of, and a draught of. The submarine was powered by two Germaniawerft F46 four-stroke, six-cylinder supercharged diesel engines producing a total of for use while surfaced, two Brown, Boveri & Cie GG UB 720/8 double-acting electric motors producing a total of for use while submerged. She had two shafts and two propellers. The boat was capable of operating at depths of up to.  The submarine had a maximum surface speed of and a maximum submerged speed of. When submerged, the boat could operate for at ; when surfaced, she could travel at. "U-1018" was fitted with five torpedo tubes (four fitted at the bow and one at the stern), fourteen torpedoes, one SK C/35 naval gun, (220 rounds), one Flak M42 and two C/30 anti-aircraft guns. The boat had a complement of between forty-four and sixty.

Service history.

She was completed in Hamburg in April 1944, and spent the rest of 1944 training with the 31st U-boat Flotilla. An accident took place during U-1018's work-up period in the Baltic on 17 June which killed one crew member (Obersteuermann Walter Nellsen) and wounded two. In December 1944, she was moved from Kiel to Horten Naval Base in Norway to join 11th U-boat Flotilla, before departing on 21 January 1945 to patrol the Western Approaches of the English Channel under the command of "Kapitänleutnant" Walter Burmeister.

Combat role.

On 27 February 1945 she attacked convoy BTC 81 about seven miles from Lizard Point, Cornwall (at ). "U-1018" launched a torpedo which hit the Norwegian freighter which sank within a few minutes, resulting in the death of five of the freighter's Norwegian crew, a 16-year-old British cabin boy, Thomas Boniface, and two British Royal Navy gunners, (part of the DEMS gun crew) including former professional footballer Charlie Sillett.  The convoy escort ships immediately launched heavy counter-attacks. Less than two hours later, "U-1018" was sunk by depth charges dropped by under the command of Cdr. Benjamin Andrew Rogers, RD, RNR. Only two members of the crew of 53 survived.

German submarine "U-1018" was a German Type VIIC/41 U-boat, built during World War II for service in the Battle of the Atlantic. The U-boat was fitted with the Schnorchel underwater-breathing apparatus which enabled her to stay under-water for extended periods thus avoiding detection by enemy warships.

L'Unterseeboot 1018 ou U-1018 est un sous-marin allemand (U-Boot) de type VIIC/41 utilisé par la Kriegsmarine pendant la Seconde Guerre mondiale.


Design.

German Type VIIC/41 submarines were preceded by the heavier Type VIIC submarines. "U-1019" had a displacement of when at the surface and while submerged. She had a total length of, a pressure hull length of, an overall beam of, a height of, and a draught of. The submarine was powered by two Germaniawerft F46 four-stroke, six-cylinder supercharged diesel engines producing a total of for use while surfaced, two BBC GG UB 720/8 double-acting electric motors producing a total of for use while submerged. She had two shafts and two propellers. The boat was capable of operating at depths of up to.  The submarine had a maximum surface speed of and a maximum submerged speed of. When submerged, the boat could operate for at ; when surfaced, she could travel at. "U-1019" was fitted with five torpedo tubes (four fitted at the bow and one at the stern), fourteen torpedoes or 26 TMA or TMB Naval mines, one SK C/35 naval gun, (220 rounds), one Flak M42 and two C/30 anti-aircraft guns. The boat had a complement of between forty-four and fifty-two.

Service history.

"U-1019" had a Schnorchel underwater-breathing apparatus fitted out sometime before February 1945.  On 1 February 1945, "U-1019" left Horten on her first, and only, war patrol. Sixteen days into her patrol, 16 February 1945, "U-1019" was attack by a Polish manned Wellington of the 304/Q Squadron RAF west of the Hebrides, she suffered only moderate damage. She arrived at Trondheim on 9 April 1945, after 68 days on patrol with no further incidents.  "U-1019" surrendered on 9 May 1945, at Trondheim and was transferred on 29 May 1945, to Loch Ryan. Of the 156 U-boats that eventually surrendered to the Allied forces at the end of the war, "U-1019" was one of 116 selected to take part in Operation Deadlight. "U-1019" was towed out and sank on 7 December 1945, by naval gunfire.  The wreck now lies at.

German submarine "U-1019" was a Type VIIC/41 U-boat of Nazi Germany's "Kriegsmarine" during World War II. She was ordered on 13 June 1942, and was laid down on 28 April 1943, at Blohm & Voss, Hamburg, as yard number 219. She was launched on 22 March 1944, and commissioned under the command of "Oberleutnant zur See" Hans Rinck on 4 May 1944.

L'Unterseeboot 1019 ou U-1019 est un sous-marin allemand (U-Boot) de type VIIC/41 utilisé par la "Kriegsmarine" pendant la Seconde Guerre mondiale.


Regent.

He was the son of Khedive Tewfik I and Emina Ilhamy, and the younger brother of Khedive Abbas II. Following the death of King Fuad I in 1936, Prince Mohammed Ali was briefly Chief Regent for the 16-year-old King Farouk I until his Coronation. In 1937 he represented Egypt and Sudan at the Coronation of King George VI of the United Kingdom.  In January 1952, his hopes of ruling were ended by the birth of King Farouk's son Ahmed Fuad. In 1953 Egypt was declared a republic and Prince Mohammed Ali lived the rest of his life in exile and died in Lausanne, Switzerland in 1955.

Manial Palace museum.

Mohammed Ali Tewfik had a great palace, Al-Manial, which he had built in the early 20th century, that contains many artifacts in a vintage architectural ambience. It is open to the public as the Manial Palace and Museum, in Cairo, this palace has large number of rooms, each room has different decoration, some of this decorations is an Egyptian style and the others are from other decoration styles around the world. prince Mohammed ali has a summer room and winter room, his mother lived in France and she admired the decorations of her room there, then prince mohammed ali brought and designed similar room with similar decorations to her mom from France to his palace to let here feel that she was still in France although she was in Egypt.

Arabian Horses.

Like his Ancestor Abbas Pasha I, he loved and breed Arabian Horses, he also wrote a Book entitled "Breeding of Pure Bred Arabian Horses".

Marriage.

He married morganatically in 1941, the former French actress Suzanne Hémon.

Descendants.

He had issue who are not recognized.

Prince Mohammed Ali Tewfik () (November 9, 1875 - March 18, 1955) was the heir presumptive of Egypt and Sudan from 1892-1899 and 1936-1952. He was a member of the Muhammad Ali Dynasty.

Le Prince Mohammed Ali Tewfik ( - ) était l'héritier présomptif de l'Égypte et du Soudan de 1892 à 1899 et de 1936 à 1952.


Career.

Lytchett Minster RFC.

Roko joined LMRFC in Feb 2008 while training with the army at Bovington camp.  Roko played for just over a season playing in the centre where he scored many tries and helped the club gain promotion to Hampshire 1

Army RU.

Rokoduguni has represented the Army Rugby Union XV, and German Rugby-Bundesliga team DRC Hannover. He represented the army twice in the 2011-2012 season, scoring four tries against the RAF and three against the Navy.  He has also represented the Army Sevens team in the Middlesex Sevens and the International Defence Sevens, the latter of which was won by the Army.

Bath Rugby.

In October 2012, it was announced that Rokoduguni had been signed on a senior contract with Bath after impressing for their second side, Bath United.  Rokoduguni made his debut for the Bath senior team on 10 November 2012, in their LV= Cup match against Newport Gwent Dragons. He scored a try after just 9 minutes, and finished the game with two tries.

International career.

In January 2014, he was included in a 25-member England Saxons squad to prepare for the upcoming match against the Irish Wolfhounds.<ref name="https://www.theguardian.com"></ref>  On 8 November 2014, Rokoduguni made his Test debut for England, losing to New Zealand 21-24 as part of the 2014 Autumn Internationals. He was the first serving British soldier to play for England since Tim Rodber in 1999. In 2015 Rokoduguni was called up into the England Rugby World Cup Squad, after David Strettle completed his move to French-based side Clermont.

Personal life.

Rokoduguni is a reconnaissance tank soldier of the Royal Scots Dragoon Guards in the British Army. He joined the Army in 2007 and was deployed to Afghanistan as part of Operation Herrick in 2011 where he was attached to 4th Battalion, The Royal Regiment of Scotland (4SCOTS).  His great-great-grandfather, great-grandfather and father all served in the military.

Lance corporal Semesa Rokoduguni (born 28 August 1987) is a Fijian-born English rugby union player currently playing for English club Bath, and soldier in the British Army, having served in Afghanistan.

Semesa Rokoduguni, né le à Nausori, est un joueur international anglais de rugby à XV d'origine fidjienne. Évoluant à l'aile ou au centre, il joue en Premiership à Bath depuis 2012.


Early life.

Harris was born on May 31, 1997, in Chicago, Illinois, and was raised on King Drive, near Parkway Gardens. Harris was raised by a single mother and spent nearly four years in Chicago's homeless shelters starting at age seven. She grew up and went to school with other established Chicago rappers such as Lil Reese and Chief Keef. She got an early start into music and poetry at the age of 10 by her involvement in her local church. It was also there that she got her start in performing, where she would perform for her local pastors by reciting poetry about her Christianity and faith.  When she was 13, she met a fellow church-goer who encouraged her to turn the poetry into rap music, and she became infatuated with the art form. She cites 50 Cent, Lil' Kim, and Da Brat as early influences to her musical style.

Career.

2012–2014: Early output.

Harris released her first music video, "Gold Digger" onto her official YouTube channel in August 2012, which went viral on the internet. She was only 15 at the time of its release—the original video has since been deleted. Over the next few years, she continued to release original music, as well as freestyles using beats from other artists, through her YouTube channel, where she has amassed over 500,000 subscribers.

2015–2016: "Cum Cake", "S.T.D (Shelters to Deltas)", and "Audacious".

In October 2015, the official music video for her song "Vagina" was released on YouTube via YMCFilmz. According to Cupcakke, she wrote the song because she was inspired by Khia's song "My Neck, My Back". One month later, Harris released "Deepthroat" on her own channel. Within weeks, the two videos went viral on YouTube, Worldstar, and Facebook due to their overt sexual nature and raunchiness. The songs later became singles for Harris' debut mixtape, "Cum Cake", which was released in February 2016. Its release was also supported by further singles such as "Juicy Coochie", "Tit for Tat", and "Pedophile". A writer for Pitchfork called the mixtape a "well rounded introduction to a skilled writer" and said it used songs "about love, loss, and hardship with its more explicit tracks to create a full profile of the up-and-coming Chicago rapper". "Pedophile" was also specifically noted for its powerful lyrics and blunt commentary on sexual assault.  In June 2016, Harris released her second mixtape, "S.T.D (Shelters to Deltas)" It was preceded by the single "Best Dick Sucker". Other tracks, such as "Doggy Style" and "Motherlands", were also later released as singles. The mixtape was listed among Rolling Stone's "Best Rap Albums of 2016 So Far".  In October 2016, Harris released her debut studio album, "Audacious". The album was preceded by the single "Picking Cotton", which was described by MTV News as "a protest song about racist cops". Other tracks on the album such as "Spider-Man Dick" and "LGBT" were accompanied by music videos. In an interview Harris stated that she made the song "LGBT" "...strictly for the gay community to know that they are loved and don’t need to feel judged."

2017–2018: "Queen Elizabitch", "Ephorize" and "Eden".

In February 2017, Harris released "Cumshot", which served as the lead single to her second studio album. On March 7, English singer-songwriter Charli XCX premiered her song "Lipgloss", which featured Harris. The song was later included on XCX's mixtape, "Number 1 Angel", which was released on March 10.  On March 24, 2017, Harris officially announced her second studio album, titled "Queen Elizabitch", which was released on March 31, 2017. "The Fader" described it as "the type of nasty rap that made her a viral sensation, alongside all-out pop bangers like "33rd" and the confessional a cappella freestyle "Reality, Pt. 4." "Stereogum" also noted that the album "sees CupcakKe engaging with the current political climate and radio trends in a way that could help her cross over to a more mainstream audience".  On April 7, 2017, "Queen Elizabitch" was removed from online streaming services and digital music stores due to an illegal backing track that Harris had purchased from what she described as a "shady producer". She soon announced on Twitter that "Queen Elizabitch" would be re-released on April 16, 2017.  On September 1, 2017, Harris revealed a new single, "Exit", and its release date on her Instagram account. It became available for digital download on September 15, 2017. On November 6, 2017, Harris announced on her Twitter the release of her new single, "Cartoons". It was released November 10, 2017.  On December 20, 2017, Harris announced through Twitter that her third studio album, "Ephorize", would be released on January 5, 2018. "Exclaim!" called it "her most polished work to date" and noted that "she still slides in plenty of deliciously dirty one-liners throughout the new record." "HotNewHipHop" commented that ""Ephorize" might be one of the most introspective bodies of work she's dropped off to date." "Pitchfork" awarded the album with the publication's "Best New Music" accolade, calling it Cupcakke's "best album yet, with terrific production and a barrage of raps that reveal Elizabeth Harris to be far more than her hilarious and absurdly raunchy one-liners."  On January 15, 2018, Harris posted the music video for her song "Duck Duck Goose", from "Ephorize", on YouTube which garnered attention from music publication sites such as "Vice" and "Genius". "The Fader" wrote about it, stating that the "visual features the Chicago rapper showing off an extensive collection of dildos as well as a souvenir Statue of Liberty. " On February 20, the music video for "Fullest", another track from "Ephorize", was released which drew more attention with "Out" calling it "a house party for the Instagram generation... Millennial pink palette: check. Inflatable pool animal: check. Neon backlighting to ensure everyone finds their best angle: check." The video was also recognized by international publications such as "Konbini" and "Ismorbo".  On November 9, 2018, Harris released her fourth studio album, "Eden". The music video for "Quiz", the lead single, was released on YouTube on May 21, 2018. The music video for "Hot Pockets" was released on July 5, 2018. The music video for her third single, "Blackjack", was released on August 15, 2018.

2019–present: Standalone singles and hiatus.

Concerned fans suspected that her "social media meltdown" may have been a result of her recent struggles with mental health, following a series of worrying posts on social media. On January 8, 2019, Harris was reportedly taken to a hospital in Chicago after tweeting that she was going to commit suicide. In a tweet posted the next day, Harris wrote "I've been fighting with depression for the longest. Sorry that I did it public last night but I'm ok. I went to the hospital & I'm finally getting the help that I need to get through, be happy, & deliver great music. Thanks for all the prayers but please don't worry bout me."  On January 11, 2019, the single Squidward Nose was released, and on February 21, 2019, a music video for the song featuring John Early premiered. On April 17, 2019, Harris released a remix of Lil Nas X's song "Old Town Road" titled "Old Town Hoe". It was released exclusively on her YouTube channel. On May 10, 2019, Cupcakke posted an update to Twitter and Instagram with the caption "Old Town Hoe Video is almost finish". The video was released the following day.  In September 2019, Harris announced her retirement in an Instagram live video, stating, "This live is going to be the last video that y'all [will] see of me". She stated that she would no longer be releasing music to the public and that she would be removing her music from all streaming platforms. In the same livestream, Harris announced that she would be cancelling her "The 10k Giveaway Tour", as she tearfully explained that she was "corrupting the youth" with her raunchy songs. She stated that she was disturbed to see children in videos and young people at her shows singing along to her explicit songs, and said "I want to go to heaven after this. I don’t want to go to hell”. Harris also told fans that she has a "very bad gambling addiction" and that she had lost $700,000 at a casino in September 2018. She concluded the video by thanking her fans for their support and for saving her and her family from homelessness which they experienced prior to Harris' career in music.  Harris' Instagram and Twitter accounts were deactivated after the livestream ended. Her music remained available on streaming platforms.  On November 7, 2019, CupcakKe came out of retirement after a 40-day absence on all social media platforms with a tweet; "Jesus fasted for 40 days & so did I... Nov 16th". On December 29, 2019, CupcakKe announced that she had signed an $8 million record deal. On March 6, 2020, CupcakKe released a new single, "Lawd Jesus."  CupcakKe would upload her first video to YouTube since her previous deletion of all videos on her channel in 2019 with the double video for previous singles "Grilling Niggas" and "Lawd Jesus", released on May 13, 2020.

Elizabeth Eden Harris (born May 31, 1997), known professionally as Cupcakke (often stylized as cupcakKe), is an American rapper, singer and songwriter from Chicago, Illinois. Cupcakke began her career as a rapper by releasing material online in late 2012. In 2015, two of her songs, "Deepthroat" and "Vagina", went viral on video-sharing websites such as YouTube and WorldStarHipHop. The songs were later included on her debut mixtape, "Cum Cake" (2016), which was placed at number 23 on "Rolling Stone"s "Best Rap Albums of 2016" list.

Elizabeth Eden Harris (née le 31 mai 1997), dite Cupcakke (parfois stylisé en CupcakKe), est une auteur-compositrice-interprète américaine. Elle commence sa carrière de rappeuse en 2012, puis se fait progressivement remarquer en partageant ses enregistrements sur les interfaces numériques. Trois ans plus tard, ses chansons "Deepthroat" et "Vagina" réussissent à gagner une certaine notoriété sur les plateformes de vidéos en ligne YouTube et WorldStarHipHop, où elles recueillent instantanément des dizaines de millions de lectures.


Background.

Frontman Adam Levine wrote this song after a "weekend bender." He told "The Sun" September 17, 2010: "I was totally depleted and got home, picked up a guitar and started writing this song. It's my favourite on the record. It's the most honest. It reflects a desperate longing to have somebody in my life, which I didn't at the time."

Composition.

"Never Gonna Leave This Bed" is written in the key of A minor (performed in G minor) with a moderate pop rock tempo of 117 beats per minute. The song follows the chord progression Am–F/A–C/G–G (the pop-punk progression), and Levine's vocals span from B3 to D#5

Critical reception.

Jakof Dorof from Slant Magazine said that: "The band turns in career highlights with the harmony-laden "Never Gonna Leave This Bed." Sarah Rodman from "The Boston Globe" said that: "“Never Gonna Leave This Bed” nails the hunger to prolong the perfect moment with an intoxicating partner with its sweet, sexy swing." IGN said: "the romance-friendly track "Never Gonna Leave This Bed," has a Keane-like feel". Leah Greenblatt from "Entertainment Weekly" opined that: "Levine's romantic roundelay trundles on the Train-ish midrange balladry ("Never Gonna Leave This Bed")".

Music video.

The music video for the song was shot on January 12, 2011, at several different places including Santa Monica and downtown Los Angeles, California. The video shows scenes of Levine and Vyalitsyna in three different bed settings, including one at a pier on the beach of Santa Monica, another on Broadway in Los Angeles, and a third setting in an upper floor of the Hilton Hotel. The video also features the band performing in a glass truck from Aardvark Event Logistics, alternatively while driving down a highway during the day, and on a busy street in downtown Los Angeles at night, while onlookers take photos. The video premiered on "Just Jared" on February 4, 2011 and the day after on "VH1 Top 20 Video Countdown". The video hit number seven on the Yahoo! Video chart published by "Billboard".

Reception.

Chris Ryan wrote for MTV that "It's a gorgeously shot and sunny video for a slightly melancholy but incredibly catchy song."

Live performances.

Maroon 5 performed the song on "The Tonight Show with Jay Leno" on January 17, 2011. The band also performed it on the Super Bowl XLV pre-show, the Logie Awards of 2011, on May 1, 2011 and on "The Today Show" on August 5, 2011. The song was played for the Hands All Over Tour and the 2011 Summer Tour.

Chart performance.

In late January 2011, the song was listed under Cool New Music on All Access in the Hot Adult Contemporary section and in early February 2011, it started gaining airplay there, even though an official Hot AC radio adds date never came to fruition. The song debuted at #35 on the "Billboard"'s Adult Pop Songs chart and reached a peak of #4. On the week of May 14, the song entered the Hot 100 at #100, reaching a peak of #55. It also charted on the Belgian, Hungary, Netherlands and Slovakia charts.

"Never Gonna Leave This Bed" is a song performed by American pop rock band Maroon 5, taken from their third studio album, "Hands All Over" (2010). The song is a ballad and was written by frontman Adam Levine and produced by Robert John "Mutt" Lange. It was released as the third single by A&M Octone Records. It was released in Australia in January 2011. The song was listed under Cool New Music on All Access in the Hot Adult Contemporary section and in early February 2011, it started gaining airplay there, even though an official Hot AC radio adds date never came to fruition. It had an official radio adds date to Mainstream Radio on May 17, 2011.

Never Gonna Leave This Bed est une chanson du groupe pop rock Maroon 5 sortie en 2011. Il s'agit du quatrième extrait de leur troisième album "Hands All Over".


Nomenclature.

The Sino-Korean word "gungmu" (/) means "state affairs" and "chongni" (/) means "prime minister", "premier" or "chancellor", so the full title in Korean means literally "Prime Minister for State Affairs", but it is not used as official English title. The short title in Korean is just "Chongni".

History.

The position was created on 31 July 1948, two weeks before the government of South Korea was founded, and was held by Lee Beom-seok until 1950. The title was Chief Cabinet Minister from 1961 until 1963.  On 27 April 2014, Prime Minister Chung Hong-won announced his desire to resign. However, due to unsuccessful nominations, Chung remained in office until February 2015.  On 23 January 2015, President Park Geun-hye named Saenuri's Floor Leader Lee Wan-koo as the new Prime Minister. Lee was confirmed by the National Assembly as Prime Minister on 16 February 2015. However, on April 20 of the same year, he offered his resignation to the President in the midst of a bribery scandal.

Functions.

The Prime Minister is the principal executive assistant to the President, while the president is the actual head of government, but not the Prime Minister. The Prime Minister holds the second position after the President in the State Council of South Korea, which is the nominal cabinet of South Korea. The Prime Minister assists the President by supervising ministries, making recommendations for ministers, and serves as the Vice-Chairman of the Cabinet. The Prime Minister is the first in the order of succession to discharge the duties of the office of the President as the Acting President should the president be unable to discharge her or his office. The most recent person to have served as Acting President was Hwang Kyo-ahn, during the impeachment of Park Geun-hye in 2016.  A Prime Minister that has been appointed by the President but not yet confirmed by the National Assembly is informally called as the acting Prime Minister. The term may also be applied to a Prime Minister that has resigned but in the interim remains in office in a caretaker role.  The Prime Minister is supported by two deputy prime ministers. The Prime Minister of South Korea sometimes holds some professional or technological knowledge whereas the President is always a sole politician.

Removal.

The procedure for impeachment is set out in the 10th Constitution of South Korea in 1987. And according to Article 65 Clause 1, if the President, Prime Minister, or other state council members violate the Constitution or other laws of official duty, the National Assembly can impeach them.  Clause 2 states the impeachment bill must be proposed by one third, and approved by the majority of members of the National Assembly for passage. In the case of the President, the motion must be proposed by a majority and approved by two thirds or more of the total members of the National Assembly, meaning that 200 of 300 members of the parliament must approve the bill. This article also states that any person against whom a motion for impeachment has been passed shall be suspended from exercising his/her power until the impeachment has been adjudicated, and a decision on impeachment shall not extend further than removal from public office. However, impeachment shall not exempt the person impeached from civil or criminal liability for such violations.  By the Constitutional Court Act of 1988, the Constitutional Court must make a final decision within 180 days after it receives any case for adjudication, including impeachment cases. If the respondent has already left office before the pronouncement of the decision, the case is dismissed.

Prime Minister's Office.

The Prime Minister's Office consists of two organisations - Office for Government Policy Coordination and Prime Minister's Secretariat which are led by ministerial-level Minister for Government Policy Coordination and vice-ministerial-level Chief of Staff to the Prime Minister respectively.  Office for Government Policy Coordination assists the Prime Minister with:  Prime Minister's Secretariat assists the Prime Minister with:

Salary.

The Prime Ministers has a salary of $163,000 as set by the National Assembly along with a lifelong pension that is always given to former Prime Ministers.

Residence.

The Prime Ministers residence is Chongri Gonggwan It is owned and operated by the South Korean Government and has served as the residence of the Prime Minister since the early 1990s after construction was concluded and was completed around the same time as the Presidential Blue House.

Post-premiership.

All former Prime Ministers are given a lifelong pension and a Presidential Security Service detail but do not have to accept the protection if they so wish. Prime Ministers when they die usually have a state funeral so the public and government officials both past and present can pay their respects.

The Prime Minister of the Republic of Korea () (informally referred to as PMOTROK or PMOSK) is the head of government of South Korea who is appointed by the President of South Korea, with the National Assembly's approval. The officeholder is not required to be a member of the National Assembly. The Prime Minister serves in a role similar to that of a vice president.

Le Premier ministre de la Corée du Sud occupe le poste de vice-président dans le gouvernement sud-coréen, sans être chef du gouvernement.


Finale de la Ligue des champions de la CAF 1999

Qualified teams.

"In the following table, finals until 1996 were in the African Cup of Champions Club era, since 1997 were in the CAF Champions League era."

Venues.

Stade Père Jégo.

Stade Père Jégo is a multi-purpose stadium in Casablanca, Morocco. It is used mostly for football matches and is the home ground of Racing Casablanca.  The stadium currently holds 10,000 spectators.  Raja Casablanca was forced to play the first leg og the final match on this stadium, due to the start of renovation at Mohammed V Stadium in view of Morocco's bid for the organization of the 2006 FIFA World Cup, green and red seats were installed on the side stands limiting its capacity to 45,891 seats without counting South (Magana) and North (Frimija) turns which have no seat.

Stade El Menzah.

Stade Olympique El Menzah is a multi-purpose stadium, located in the north of Tunis, Tunisia.  It is built to host the 1967 Mediterranean Games at the same time as the Olympic swimming pool and gymnasium. Since then, it is an integral part of Tunisia's main sports complex. Tunisia's three major football teams, ES Tunis, Club Africain and Stade Tunisien played their games there. The stadium is completely renovated for the 1994 African Cup of Nations. It has a capacity of 39,858 seats. The VIP section consists of a grandstand and 2 salons that can accommodate 300 people in a "cocktail" configuration.

Format.

The final was decided over two legs, with aggregate goals used to determine the winner. If the sides were level on aggregate after the second leg, the away goals rule would have been applied, and if still level, the tie would have proceeded directly to a penalty shootout (no extra time is played).

The 1999 CAF Champions League Final was a football tie held over two legs in November and December 1999. Raja Casablanca of Morocco beat ES Tunis of Tunisia on penalties after their two-legged tie ended goalless.

La finale de la Ligue des champions de la CAF 1999 est un match de football disputé en aller-retour, opposant l'équipe marocaine du Raja de Casablanca à l'équipe tunisienne de l'Espérance sportive de Tunis. Les rencontres sont jouées le au stade Père-Jégo de Casablanca, au Maroc, puis le au stade olympique d'El Menzah de Tunis, en Tunisie.


Early life and education.

Vogt was born in Berlin, the daughter of two of Germany's leading anatomists, Cécile and Oskar Vogt (French and Danish-German respectively). She was the older sister of Marguerite Vogt.  Marthe studied medicine and chemistry at Berlin University (1922–1927), earning her degree as Doctor of Medicine with research on the microscopial anatomy of the human brain. She also earned a D.Phil in Chemistry for research in biochemistry on carbohydrate metabolism at the Kaiser Wilhelm Institut für Biochemie under C. Neuberg (1927–1929).

Career.

In 1929, she began work on pharmacology and endocrinology in the Institute of Pharmacology in Berlin under Paul Trendelenburg where she met Edith Bülbring and Wilhelm Feldberg and where Paul Trendelenburg's son Ullrich became her friend for life. Here Vogt learned about endocrinology and used experimental techniques in pharmacological analysis. By the early 1930s, she had established a reputation as one of Germany's leading pharmacologists, and in 1931, aged just 28, was appointed head of the chemical division at the Kaiser Wilhelm Institut für Hirnforschung ("Brain Science"). Her work focused on the central nervous system and the effects of various drugs on the brain.  With Nazism on the rise throughout Germany, Vogt and other German scientists (including Edith Bulbring), decided that a move to Britain would be greatly beneficial, and in 1935 she arrived on a Rockefeller Travelling Fellowship in England. Vogt joined the British Pharmacological Society and began work with Sir Henry Dale at the National Institute for Medical Research, London. Vogt coauthored a paper with Dale and Wilhelm Feldberg: 'Release of Acetylcholine at Voluntary Motor Nerve Endings' in 1936. Sir Henry Dale was awarded the Nobel Prize for Physiology or Medicine in 1936 based on the work described in this paper, and he credited Feldberg and Vogt in his lecture.  In late 1935, for the second half of her Rockefeller Traveling Fellowship, Marthe Vogt began work in Cambridge on the relationship of blood pressure to substances from the ischaemic kidney with Professor E.B. Varney, with additional funding grants from the Royal Society. She was also awarded the Alfred Yarrow Research Fellowship of Girton College the next year. In 1938 she was awarded an honorary doctorate from Cambridge where she was a Demonstrator in Pharmacology and Physiology.  Unfortunately, the politics of World War II threatened her career. Her German nationality lead to an investigation by British intelligence services in 1940, who categorized her as a category A enemy alien because Nazi officials would not accept her resignation from a permanent appointment when she left Germany. She was brought before a tribunal which ruled for her immediate internment. However, Vogt's colleagues and friends rallied to her aid and an appeal was granted, freeing her to continue her work at Cambridge.  Vogt remained at Cambridge for five years, working on topics in hypertension and adrenal gland function. In 1947, Vogt became a lecturer and later reader in Pharmacology at Edinburgh University, where she continued work on transmitter substances, publishing research on serotonin and reserpine. In 1948, Vogt published a seminal work with William Feldberg: 'Acetylcholine synthesis in different regions of the central nervous system'. The paper provides the earliest evidence for the role of acetylcholine as a neurotransmitter and demonstrated the regional distribution of cholinergic systems in the brain.  She was a visiting professor at Columbia University, New York in 1949. Over the next thirty years, Vogt would divide her time between Cambridge, London and Edinburgh and in 1960 she moved back to Cambridge once more to head the Pharmacology Unit at the Babraham Institute, retiring in 1968. She continued research there until 1990.

Awards.

Throughout her life Marthe Vogt received numerous accolades from many scientific institutions. In 1952 she was elected as a Fellow of the Royal Society and in 1981 she was awarded the Royal Medal of the Society. She also held honorary doctorates from Edinburgh and Cambridge. She was elected a Foreign Honorary Member of the American Academy of Arts and Sciences.

Later life.

Marthe Vogt later relocated to La Jolla, California in 1988 to reside with her sister, noted cancer biologist Marguerite Vogt (1913-2007). Marthe Vogt died the day after her 100th birthday in 2003.

Marthe Louise Vogt (September 8, 1903 – September 9, 2003) was a German scientist recognized as one of the leading neuroscientists of the twentieth century. She is mainly remembered for her important contributions to the understanding of the role of neurotransmitters in the brain, especially epinephrine.

Marthe Louise Vogt ( – ) est une neuroscientifique et pharmacologue allemande. Elle est connue pour ses recherches sur le rôle des neurotransmetteurs dans le cerveau, en particulier les sympathines comme l'adrénaline. Elle est élue membre de la Royal Society en 1952 et membre de l'académie américaine des arts et des sciences en 1977. Elle reçoit la médaille royale en 1981 pour ses recherches sur la biochimie et la pharmacologie des synapses qui sont fondamentales à la neuropharmacologie moderne.


Summary.

Tom places a bunch of traps in front of Jerry's mouse hole. He raises a cleaver over the hole but is immediately stopped by a talking radio. The announcer, Uncle Dudley, tells him it is "Be Kind To Animals" week. Tom removes the traps he just set up and returns with flowers, a present, and a pie with, "To Jerry with Love" on it. Tom knocks on the wall but Jerry is not there. Tom removes the grate on the wall and sees that Jerry is not at home. But he does see his diary. Tom reaches in, grabs it, and starts to read it.  The first entry dates on Sunday, April 5, when Tom used Jerry as a Tee when he played golf. This segues into two scenes from 1945's "Tee for Two". In the first scene Tom uses Jerry as a tee, then puts Jerry through the ball cleaner. Tom is laughing while reminiscing this scene. He continues to read the next part of the entry, where he hits the ball and grins, only for it to bounce off a tree and smash his teeth. Because of this entry, Tom's mood immediately goes down and he turns to another entry.  The next entry dates on Thursday, May 12, when Jerry got curious about Tom and it almost got him caught. This changes to a scene from 1944's "Mouse Trouble", where Tom attempts to catch Jerry by raising the mouse's curiosity. Tom succeeds and catches him, but Jerry pulls the same trick on him with his fists. Tom inspects them only to get punched in the eye. Tom gets angry from what he has read and throws away the flowers in irritation.  He turns to another entry which dates on Monday, June 3, when Jerry got Tom into two nasty surprises in a chase. The scene changes to 1946's "Solid Serenade", where both of them bring their chase from outdoors into the kitchen. The chase ends with a window falling on Tom's neck causing him to shriek in pain. Tom is now enraged at what Jerry has written about him and he destroys Jerry's present (which appears to be a box of chocolates) in frustration.  He is just about to throw the diary away when he opens it again and reads one more entry dating Saturday, July 4, when Tom and Jerry fought using firecrackers. The scene changes to 1943's "The Yankee Doodle Mouse", where Tom throws dynamite towards Jerry, but Jerry immediately throws it back; the mouse uses reverse psychology to make Tom grab the dynamite for himself, which explodes. Tom then traps Jerry inside a kettle and throws in a stick of dynamite. The mouse escapes as no explosion occurs. The puzzled cat opens the kettle's lid, after which the firecracker goes off, leaving him resembling a blackface sunflower.  Tom has finally had it and rips Jerry's diary to pieces in exasperation just as soon as the mouse comes home. He is happy to see that Tom has baked him a pie. Jerry points at the pie and then points to himself, asking if the pie is for him. Tom is just about to strangle Jerry when Uncle Dudley, via the radio, stops him once again. "And now before your old Uncle Dudley says goodbye, did you get a nice little surprise for your little animal friend?" Tom picks up the pie with a devilish smile. The radio says, "You did? Well, let him have it." And Tom does - right in the mouse. Jerry, who looks rather dazed, looks into the camera and shrugs his shoulders.

Availability.

DVD

Jerry's Diary is a 1949 one-reel animated cartoon and is the 45th "Tom and Jerry" short released by Metro-Goldwyn-Mayer, directed by William Hanna and Joseph Barbera, produced by Fred Quimby, scored by Scott Bradley, and animated by Kenneth Muse and Ed Barge. It is the first of several compilation Tom and Jerry shorts, integrating footage from previous shorts into the plot.

Le Journal de Jerry ("Jerry's Diary") est le métrage d'animation de la série américaine "Tom et Jerry" réalisé par William Hanna et Joseph Barbera et sorti le.


History.

The oldest known textile fragment of Nålbinding dating from c. 6500 BC was found in Nehal Hemar cave, Israel. Another made of lime bast fibre, from the Ertebølle period c. 4200 BC was found in Tybrind Vig, a Mesolithic fishing village in Denmark.  The oldest known samples of single-needle knitted clothing include the color-patterned sandal socks of the Coptic Christians of Egypt (4th century CE), and hats and shawls from the Paracas and Nazca cultures in Peru, dated between 300 BC and 300 AD.  Historically needles were made out of wood, antler or bone. Contemporary selections also include plastic.  Nålbinding is believed to predate knitting and crochet. Historical samples have often been misidentified as knitting due to how similar they can appear in the finished products if made using the Coptic stitch. Often a textile historian will need to closely follow the path of the yarn itself to identify the item as either knitting or nålbinding. This is possible by knowing the textile structures created by the two crafts and identifying those within the fabric or by looking for a frequent use of joining of strands.  Nålbinding was used during the Viking-age of 793–1066 AD in Scandinavia before knitting and crochet were known. This was an effective method for them to create sturdy, serviceable garments.  Nålbinding works well with short pieces of yarn. Based on this, scholars believe that the technique may be ancient, as long continuous lengths of yarn are not necessary. The term "nålebinding" was introduced in the 1970s.  A famous piece of nålbinding is the 'Coppergate sock' found during an excavation of the Coppergate area of York. A clear Viking influence in the textiles was found in the finds in this area. This was a wool sock that had been created using a technique never before recorded in England. The sock was slipper-like in style and would have covered the whole foot.  Nålbinding was used in some regions of Northern Europe until the 1950s, when it most likely declined because of the changes in the textile industry and almost disappeared. It later gained renewed interest among many textile historians, archaeologists, craftspeople and reenactors, so that it is today an exotic but well-kept handicraft tradition.

Technique.

The method creates an elastic fabric using short lengths of yarn and a single-eyed needle that is often broad and flat. The stitches are commonly, but not invariably, gauged by wrapping them around the thumb. In its simplest form, the needle is passed through a seed loop to form a new loop, taking care to avoid tightening either into a firm knot. The needle is then passed through the new loop, repeating the process until a chain of desired length has been formed. Subsequent stitches are formed in the same manner but are also joined laterally to the corresponding stitch in the chain. The extended process is similarly repeated with reference to the preceding row rather than the initial chain. Fabric is commonly worked in a single direction – "in the round" – forming spirals and tubes for socks and mittens. The work may also be turned at the end of a row for fabric "worked flat".  Specialised notation is used to indicate the path of the needle as it is worked through the preexisting fabric, with its passage under a loop shown as U and over a loop as O. A slash shows where the yarn changes direction and returns through loops it has already passed. If a loop is skipped an O or a U is put in brackets. If there is more than one change of direction a colon is used. The connection to the previous row is described using the letter F (if the yarn passes through the loop from the front) or B (if the yarn passes through the loop from the back), as well as a number to show how many loops are worked in this way. Stitches that can be described in this manner vary significantly in appearance, texture, and elasticity. As an example, the Coppergate sock described above was made in York stitch, or UU/OO O F2. As an example to show the use of brackets and colons, the Ålse stitch is U(U)O/UO:UO O. Some people prefer to use superscript numbers to describe the age of the passed loops, as it provides a clearer description for practical nalbinding than the brackets and colons.  Wool yarn is often used because short lengths of it can easily be joined together, as the technique intrinsically requires. However, yarn made of fibers that do not felt as easily can be joined in other ways.  In the construction of the 'Coppergate sock', the work began at the toe and worked in circular rows. Looping continued by the passing of the needle through two loops of the previous row, one of which had already been worked, and then brought back through the last two loops of the current row. A heavy, thick fabric was created with great elasticity. No loose ends were visible and are thought to be joined by splicing or having been stitched into the fabric. Shaping was achieved by adding an extra loop or leaving a lower loop out of the sequence. The heel had been turned back on itself several times to create the heel shaping.

Characteristics.

Due to the "pulling through," this technique is well adapted to short lengths of yarn which can be joined together to form a textile.  Nålebinding is repeatedly called more laborious and slower than knitting. This is not necessarily true, especially for the simpler stitches, such as the Oslo-, Mammen- and Brodén-stitches. Although each stitch might take slightly longer than a knitted one, nålbinding is often quicker than knitting, because each row's height (in the most common nålbinding-techniques) corresponds to 2–3 rows of knitting. It is also easier on the shoulders, back and hands, and the fabric it produces can be more dense and durable than knitted fabric. It is still used in Peru and Iran to make socks, and in parts of Scandinavia to make hats, gloves and other items that are very warm. Members of the Society for Creative Anachronism may use nålebinding to produce durable and authentic head covers for use under armor.  Another common mistake is to think of nålbinding as superior to knitting, because it requires more skill. It is very easy to learn and master; given proper instruction, even the more complex techniques are quite possible to learn with comparably little prior knowledge (though some is recommended). It can create different textiles, thin and flexible ones as well as thick and comparably stiff ones, depending on which technique is used. It is equally false to say knitting is superior to nålbinding. They are different; each has advantages and disadvantages.  Nålbinding does not unravel and therefore special finishing borders are not necessary.

Nålebinding (Danish: literally "binding with a needle" or "needle-binding", also naalbinding, nålbinding, nålbindning or naalebinding) is a fabric creation technique predating both knitting and crochet. Also known in English as "knotless netting," "knotless knitting," or "single needle knitting," the technique is distinct from crochet in that it involves passing the full length of the working thread through each loop, unlike crochet where the work is formed only of loops, never involving the free end. It also differs from knitting in that lengths must be pieced together during the process of nålebinding, rather than a continuous strand of yarn that can easily be pulled out. Archaeological specimens of fabric made by nålebinding can be difficult to distinguish from knitted fabric.

Le Nalebinding (Danois : littéralement "lier avec une aiguille", aussi orthographié naalbinding, nålbinding, nålbindning ou naalebinding) est une technique de création de textile ancêtre du tricot et du crochet. En anglais, le nalebinding se traduit par "knotless netting," "knotless knitting," ou "single needle knitting,". Cette technique est différente du crochet : elle implique de passer toute la longueur du fil travaillé dans chaque boucle, contrairement au crochet qui permet de former des boucles sans qu'il n'y ait de bout libre. Le nalebinding diffère également du tricot car il implique que les boucles soient formées au fur et à mesure du travail, contrairement au tricot qui nécessite le travail d'une rangée de mailles sur une aiguille. Les pièces archéologiques de nalebinding sont cependant difficiles à distinguer des pièces de tricot.


Plot.

"Ys IV" takes place two years after the events of "", and before the events of "".  As the game begins, Adol has returned to the town of Minea, where "" began. After hanging around for a while and conversing with old friends, he decides to set sail for the overseas land of Celceta.

Gameplay.

"Ys IV" returns to the style of play used in "Ys I" and "II". The gameplay area is viewed from a top-down perspective, and the player attacks enemies by running into them to cause damage. Adol gains experience from defeating enemies, and gaining experience serves to raise his strength, as in the previous games. The Magic system introduced in "Ys II" is also brought back for this game.

Development.

"Ys" series creators Nihon Falcom Corporation licensed its development to Hudson Soft.

Music.

The original music was composed by Falcom Sound Team J.D.K. members Atsushi Shirakawa, Naoki Kaneda, Takahiro Tsunashima, and Masaru Nakajima.  As was the case with Hudson's CD-ROM2 versions of "Ys I & II" and "Ys III: Wanderers from Ys", "The Dawn of Ys" CD-DA tracks were arranged by Ryo Yonemitsu. Yonemitsu did not arrange the entire soundtrack for the game itself, as many tracks were programmed for the console's internal sound chip by Osamu Narita, but he did cover every track for the "Perfect Collection Ys IV" CD series. ("see below")  Soundtrack releases for "Ys IV: The Dawn of Ys" are as follows:

Reception.

Japanese game magazine "Famitsu" gave the game a score of 29 out of 40.  French magazine "Joypad" gave it 96%.

"The Dawn of Ys" was released in 1993 and was one of two games released under the title of "Ys IV", the other being Tonkin House's "" for the Super Famicom. The two games share the same setting, but Hudson took more liberties with its presentation in "The Dawn of Ys", and two unique games resulted.

Ys IV: The Dawn of Ys (イースIV) est un jeu vidéo de type "action-RPG" développé et édité par Hudson Soft, sorti en 1993 sur PC-Engine.