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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


Setting.

The eponymous bazaar of the game is a sentient being. It is curated by several Masters, each with their own control over Fallen London's business (Mr Apples, for instance, controlling agriculture, while Mr Fires rules industry). The monarch of the city, Her Enduring Majesty the Traitor Empress, sold the city to the bazaar to spare the life of her husband Albert, Prince Consort, in 1861. The entire city was then taken beneath the surface by a swarm of bats, where it has remained for over thirty years.  London is only the latest, fifth city to be taken underground in a pattern stretching across thousands of years, although certain storylines show that it has not lost contact with the outside world. Surrounding Fallen London is the Unterzee, a subterranean ocean the size of Europe with many islets and infested with monstrous sea life; experienced players may sail across it to visit other locations in connection with story lines based in Fallen London. Among these is Polythreme, a country where inanimate objects become alive and sentient (and source of Clay Men, the golems used as cheap labor in London), the Iron Republic, a devil-ruled place in which even reality is subject to the capricious and constantly changing written laws, the Elder Continent where ebony skinned men and tigers live forever and the Khanate, a rival nation to Fallen London made up of the descendants of the fourth city that was taken, Karakorum.  Fallen London has also found itself much closer to Hell: devils appear constantly and casually in various storylines, and even maintain an embassy in the city itself. A dream-realm, Parabola, is closer to London than to surface locations, and is sometimes visible through mirrors.

Gameplay.

Players take the role of new arrivals to the underground down on their luck, and make their way to the cream of the crop of the city's various legal and illegal activities. Players are gentlebeings of leisure, plumbing the vices and secrets of Fallen London. They have no living expenses, and though players may choose a profession for a periodic income, they can publish a newspaper, serve out repeated prison sentences and feed deliverymen to a man-eating plant without harming their job security. Stats are used to track the player character's abilities and their position in the questlines; a character may accumulate hundreds. Four of these are the character's main attributes (Watchful, Shadowy, Dangerous, Persuasive) and constantly used for succeeding in actions, though failure may also increase the corresponding menace (Nightmares, Suspicion, Wounds, Scandal). If any menace rises too high, the character is removed to a side location (such as Disgraced exile in the Tomb-Colonies for Scandal) to work it off.  The game can't be won, but can be lost. A questline to "Seek Mr. Eaten's Name", about destructive obsession, requires the player to damage their character in like manner repeatedly, until its completion leaves the character permanently unplayable. The game requires players to opt into this questline and warns them against playing it.

Development.

Alexis Kennedy began solo development of Fallen London as an amateur project in June 2009, creating the setting, building the site and writing the initial content. He had originally intended the game to be an entirely text-based experience, but quickly realised that art would enhance the project, and recruited a friend, Paul Arendt."Paul came on board because I wanted to write and code but I can't draw," says Kennedy. The original plan was to pay Arendt outright for his illustration work. "I said, 'I want to pay you as I want this to be a professional thing.' He said, 'Cut me in for a percentage,' and I said, 'Sure, that's great! I don't need to give you any money now! But you realise we're probably not going to make any actual money out of it?'" He claps his hands together. "We've been on salary for three years now, so... so that worked out."The site launched initially in October 2009 as an entirely free site, and introduced free-to-play elements in January 2010. Kennedy and Arendt recruited a number of other friends to write additional content, and over the years, the writing of Fallen London became a collective endeavour.  Fallen London is built on Failbetter's Storynexus engine. Kennedy has explained that creating Storynexus was the original motivation behind the creation of Fallen London. The company's plan was to develop Storynexus as an open platform, but later described Storynexus as a 'failure'.

Release.

"Fallen London" was released in 2009 as a browser game. An iOS and Android version was released in 2016, but was retired in 2018.

Reception.

"Fallen London" has received positive reviews, with much praise going to its writing and worldbuilding. Dan Zuccarelli of Gamezebo, calling the game "one of the best browser games [they'd] ever played", pointed to the game's "compelling but not overwhelming" story as its main feature. Rock, Paper, Shotgun's Adam Smith wrote in favour of its writing style along with its "inventive setting", "dripping with lore". He noted how most of the discovery comes from the player working things out for themselves.  Emily Short found it "almost entirely about setting". She gave credit to the quality of the game's prose and its "reasonably consistent" worldbuilding, though thought the game could be used for "something plottier". Short noted the "grinding" in the game, but found the daily time investment to play the game small enough to overlook its gameplay's "slightness".  However, Short subsequently went on to become a writer for the game, and in late 2019 joined Failbetter as creative director.  The game won "The Escapist" "Best Browser-Based Game" award for the year 2009.

Spin-off media.

"Sunless Sea" and its sequel, Sunless Skies, are roguelike spin-offs of "Fallen London".  On 22 September 2018, Failbetter Games released Skyfarer RPG, a rules light, highly narrative indie pen-and-paper role-playing game to accompany Sunless Skies.  "Tales of Fallen London: The Silver Tree", a prequel to "Fallen London", was released on 23 October 2012. "The Silver Tree" is also a browser-based choose-your-own-adventure game, but occurs roughly five hundred years before the time of "Fallen London" and focuses on the events surrounding the fall of the Fourth City, Karakorum, capital of the Mongol Empire. A tabletop game titled "Knife & Candle" (named for the competitive sport within the setting that combines elements of tag and a free-for-all murder spree) was in development, but John Harper stated that the game "didn't come together".

Fallen London, originally Echo Bazaar, is a browser-based interactive narrative game developed by Failbetter Games and set in "Fallen London", an alternative Victorian London with gothic overtones. The franchise subsequently expanded to other games, including "Sunless Sea" and its sequel "Sunless Skies".


Biography.

Son of Abílio da Silva Buíça, parish priest of Vinhais, and Maria Barroso.  Buíça married twice: the first lasted from 1896 to 1898, and his second, to Hermínia Augusta da Costa, with whom he had two children (Elvira and Manuel).  Manuel Buíça had few friends, outside his professional acquaintances, although he was a close colleague of Alfredo Luís da Costa and Aquilino Ribeiro (the latter of whom he referred to in his last testament by name), with whom he mingled at the Café Gelo in the Rossio.  His professional career started with his conscription into the army, where he would achieve the status of second Sergeant, and hold the title of field instructor in shooting, while at the Cavalry Regiment in Bragança. A professional, Buíça also enrolled in the master-at-arms training course, obtaining a medal for first class sharpshooting medallion in the process. Unfortunately, his career in the military was not spotless: there were various infractions and three disciplinary notes in his record.  After the army, Buíça enrolled in courses at the Colégio Nacional, and participated in lessons in music and French.

Elevator coup.

On the night of 28 January 1908 several men were arrested by the police around the Lisbon Municipal Library Elevator. This group of people were later determined to be the principal revolutionaries in an attempted republican coup that was to have effectively occurred on January 28, 1908, but failed. The "Janeirada" (which colloquially means the "January thing"), or more commonly referred to as the Municipal Library Elevator Coup, was an attempted coup to assassinate João Franco, proclaim a republic, and abolish the monarchy (by this, its King, Carlos I of Portugal).  A cell of 20 men, led by Alfredo Luís da Costa, that also included Manuel Buíça, originally were to assault the Royal Palace, but later, strategically modified their assault to the Quartel dos Lóios, and attacked contingents of the Municipal Guard, around the "Rua de Santa Bárbara", until they received word of the "revolution" (from a particular mortar explosion).  The "Janeirada" was planned by members of the Portuguese Republican Party, their enforcers, the Formiga Branca, elements of the Progressive Dissidency Party and the Carbonária, the latter two providing financing, men and arms. In addition to António José de Almeida, there was support from the shadows from Luz de Almeida, the chief of the Carbonária Lusitana, Machado Santos and António Maria da Silva. The decision to murder the King, was not clear, but these instructions were passed on to Costa's group, as part of the coup plans. But, the plans were shelved immediately when, tipped-off by police, João Franco's government began rounding-up the "usual suspects" in militant republican circles. Those that could escape, did so, while others congregated around São Julião's Elevator and were rounded-up by the police en masse. In fact, the limits were limited to the higher-echelon members and leaders of the anti-monarchist movement, while lower level dissidents and thugs were limited to attacks in the Rato, in Alcântara, in the Campo de Santana, and along the "Rua da Escola Politécnica" (where one officer was killed).  The back room of the Café Gelo, then a popular meeting place for republican and Carbonária sympathizers, was empty in the following days, except for Manuel Buíça and Alfredo Costa who had escaped the sweep and were not afraid to be seen.

Assassination.

On the morning of 1 February 1908, Manuel Buíça met with Alfredo Luís da Costa and other Carbonária in Quinta do Xexé, in Olivais, where they finalized the regicide of King Carlos I of Portugal. Around two in the afternoon, Buíça had lunch with Costa and three other conspirators in the corner of the Café Gelo. Near the kitchen, the nook allowed members to converse unnoticed. At the end of their conversations, Buíça got up, mentioning that he was going to ""get the wand"", which likely referred to his Winchester 1907 semi-automatic carbine (serial 2137), which had been exported from Germany by Heitor Ferreira.  By four in the afternoon, Buíça, Domingos Ribeiro, and José Maria Nunes positioned themselves in the Terreiro do Paço, near the statute of King Joseph I and near a tree in front of the Ministry of the Kingdom, alongside a kiosk. Costa, de Lemos, and Ximenes assumed positions below the arcade of the Ministry, and mingled with the population gathered for the king's arrival by boat.  At about 17:20, as the landau rounded the square, Buíça advanced from his position, and from 8–10 metres behind the carriage, he dropped to one knee and fired the first shot. His aim was perfect: the bullet hit Carlos I in the neck, immediately snapping his spine and effectively killing him. His second shot only guaranteed the king's death, but may have been directed to the young Prince Royal seated in front of the King. This second shot clipped the epaulette on the left shoulder of the King, and caused the king to slump to the right. At this time Alfredo Costa jumped on the landau and firing two shots into the back of the king. Buíça moved in and fired at Luís Filipe as the latter was confronting Costa; the first bullet missed, but the second hit him in the face, exiting the cranium.  Buiça however, was not finished, and attempted to move position for another volley, when he was interrupted by Henrique da Silva Valente, a soldier of the 12th Infantry, who was in the square. By then a cavalry officer, Lieutenant Francisco Figueira fired on Buíça, hitting him in the leg. As Buíça attempted to flee, Figueira immobilized him with a shot to the thigh. A police officer finally killed Buíça in the square.

Afterward.

Manuel Buíça was buried on 11 February 1908; three men, members of the Associação do Registo Civil (English: "Association of the Civil Registry") had protested outside the morgue, in order to convince the director to allow them to have a civil funeral. Earlier that day, the autopsy found: a contusion at the top of the cranium, a laceration in his lower back (likely caused by Lieutenant Figueiro's sabre) and a wound to the left breast. This wound was the fatal entry, the bullet clipped the heart and perforated the liver. The recovered bullet was a 6.35 caliber bullet from an automatic pistol, a weapon that was not used by the Portuguese police at the time, fueling speculation that some para-military personnel had killed him.  In the afternoon, his body, along with that of Alfredo Luís da Costa and an innocent bystander (José Sabino), was taken to the cemetery in the Alto de São João. The two assassins' bodies were buried in graves 6044 and 6045, but in 1914, they were exhumed and placed in the local mausoleum. Shortly after their burial, permission was given by the "acclamation" government of Ferreira do Amaral to allow republican sympathizers to visit the graves. These events were organized by the Associação do Registo Civil, which furnished flowers and paid (500 réis per person and 200 réis per child) for those that appeared at the graves. After the 5 October Revolution ushered in a republican government, the Associação do Registo Civil acquired a plot in the cemetery and erected a monument to ""the heroic liberators of the Fatherland"". The monument was eventually dismantled during the Estado Novo, but its elements were never destroyed, but preserved and never replaced.  Around six months before the regicide of King Carlos I and Prince Luís Filipe, Manuel Buíça had become a widower, and his children, ages seven and four years, would be left with their maternal grandmother.  There is a belief, primarily in republican circles, that Buíça was an idealist, whose assassination of the King and Prince Royal was accomplished as a form of justice and honourable duty for the Fatherland. In his final will, dated 28 January 1908, four days before the Lisbon Regicide, he wrote the following:  ""Manuel dos Reis da Silva Buiça, widower, son of Augusto da Silva Buiça and Maria Barroso, resident of Vinhais, concelho of Vinhais, district of Bragança. I am a native of Bouçoais, concelho of Valpaços, district of Vila Real (Trás-os-Montes), married D. Hermínia Augusta da Silva Buíça, daughter of a retired major in the cavalry and D. Maria de Jesus Costa. The major was João Augusto da Costa, widower. My wife left me two children, that I know: Elvira, who was born on 19 December 1900, in "Rua de Santa Marta", bottom floor, and who is not yet baptised nor civilly registered and Manuel who was born on 12 September 1907 in Escadinhas da Mouraria, No. 4, fourth floor and was registered in the administration of the first barrio of Lisbon, on 11 October, in the year above referred." "The witnesses were Albano José Correia, married, employed in commerce and Aquilino Ribeiro, single, publicist. Both my children live with me and their maternal grandmother in Escadinhas da Mouraria, No. 4, 4th floor, left." "My family lives in Vinhaes, where it is likely my death or disappearance, should that be. My children will remain poor; I have nothing to leave them, except my name and my respect and compassion for those who suffer. I plead that they be educated in the principles of liberty, equality and fraternity...and for whom they remain, through providence, in short, orphans." "Lisbon, 28 January 1908. Manuel dos Reis da Silva Buiça. Remember my signature, Rua do Crucifixo, Lisbon."

Manuel dos Reis da Silva Buíça (30 December 1876 – 1 February 1908) was a Portuguese schoolteacher and soldier involved in the regicide of King Carlos I of Portugal and Prince Royal, Luís Filipe, during the events that became known as the Lisbon Regicide.


History.

Bruckner composed the "Missa solemnis" in 1854 for the installation of Friedrich Mayer as abbot of St. Florian Abbey. The Missa solemnis was performed during the installation of Friedrich Mayer on 14 September 1854. After Robert Führer saw the score, he suggested Bruckner study with Simon Sechter, and after seeing the mass, Sechter accepted Bruckner as a pupil. With the possible exception of Psalm 146, the "Missa solemnis" was the last major work Bruckner wrote before concluding his studies with Sechter, who did not allow his students to compose freely while studying with him.  A second performance of the "Missa solemnis" occurred two years after Bruckner's death, on 4 May 1898 ("Floriani-Tag"), in the St. Florian Abbey under the baton of Regens chori Berhard Deubler. On 29 March 1921, the "Missa solemnis" was performed again by August Göllerich during the seventh concert of the "Linzer Bruckner-Stiftung".

Setting.

Bruckner composed the "Missa solemnis", WAB 29, as a setting of the mass ordinary for vocal soloists (soprano, alto, tenor and bass), mixed choir, orchestra (2 oboes, 2 bassoons, 2 horns, 2 trumpets, alto, tenor and bass trombones, timpani, and strings) and organ.  According to Catholic practice – as in Bruckner's previous "Messe für den Gründonnerstag" and his later Mass No. 1 and Mass No. 2 – the first verse of the "Gloria" and the "Credo" is intoned by the priest in Gregorian mode before the choir continues. Unlike Bruckner's earlier "Choral-Messen", the "Gloria" and the "Credo" of the "Missa solemnis" contain the larger text usually associated with these sections of the Mass.  The setting is divided into six main parts: Total duration: about 31 minutes.  "Bruckner's Missa Solemnis is a musical summa of the first thirty years of his life." Stylistically the mass, in the line of Beethoven's orchestral masses, displays Bruckner's confrontation with tradition. In spite of many beautiful details, multiple influences afford the work some heterogeneity in which J. S. Bach's technique of the fugue is "amalgamated" with elements of the Viennese Classical and Preclassical periods, and of the early Romantic (Schubert).  The ""Quoniam"" quotes from Joseph Haydn's "Missa sancti Bernardi von Offida". As in Bruckner's later great masses, the setting of the words ""Et resurrexit"" is preceded by the "old-fashioned rhetorical gesture" of a "rising chromatic figure in "stile agitato" representing the trembling of the earth." This rising chromatic figure is repeated before the "Et expecto resurrectionem mortuorum". Several passages of the "Missa solemnis", particularly the ""Qui tollis"" of the "Gloria" and the central part of the "Credo", prefigure Bruckner's next Mass No. 1 in D minor. Both the "Gloria" and the "Credo" conclude with a fugue.  Robert Simpson finds "nothing mediocre or tentative about this strong and clear work... the music is often of excellent quality... the work, though not perfect, is admirable."

Editions.

The edition by Robert Haas for the "Gesamtausgabe" was based on the copy given to Mayer. During the 1930s Ferdinand Habel changed the text of bars 28–38 of the "Kyrie" and bars 57–58 of the "Gloria" to make the work more usable for Eucharist celebration.  Leopold Nowak rejected these changes in his edition, which also introduced phrasing marks in some violin parts that had not been available to Haas.  On 25 June 2017 a new edition of the score by Cohrs, prepared for the "", was premiered by Łukasz Borowicz with the RIAS Kammerchor and the Akademie für Alte Musik Berlin.

Discography.

There are five commercial recordings of the work. The three earlier recordings follow the Haas edition with Habel's text adaptations. Rickenbacker follows the Nowak edition. According to Hans Roelofs, Jürgens' and Rickenbacker's performances are better achieved than the two earlier recordings. Jürgens performs it with religiosity, as a mass, Rickenbacker more strenuously as a concert work.

The Missa solemnis, WAB 29, is a solemn mass composed by Anton Bruckner in 1854 for the installation of Friedrich Mayer as abbot of St. Florian Abbey on 14 September 1854.


Geography.

Parker is located at (43.958477, -111.759204).  According to the United States Census Bureau, the city has a total area of, all of it land.

Demographics.

2010 census.

As of the census of 2010, there were 305 people, 99 households, and 76 families residing in the city. The population density was. There were 107 housing units at an average density of. The racial makeup of the city was 94.8% White, 2.3% Native American, and 3.0% from other races. Hispanic or Latino of any race were 4.6% of the population.  There were 99 households of which 48.5% had children under the age of 18 living with them, 68.7% were married couples living together, 7.1% had a female householder with no husband present, 1.0% had a male householder with no wife present, and 23.2% were non-families. 20.2% of all households were made up of individuals and 12.1% had someone living alone who was 65 years of age or older. The average household size was 3.08 and the average family size was 3.66.  The median age in the city was 28.2 years. 37.7% of residents were under the age of 18; 7% were between the ages of 18 and 24; 25.6% were from 25 to 44; 18.7% were from 45 to 64; and 11.1% were 65 years of age or older. The gender makeup of the city was 49.8% male and 50.2% female.

2000 census.

As of the census of 2000, there were 319 people, 96 households, and 74 families residing in the city. The population density was 901.8 people per square mile (351.9/km2). There were 101 housing units at an average density of 285.5 per square mile (111.4/km2). The racial makeup of the city was 97.49% White, 1.88% from other races, and 0.63% from two or more races. Hispanic or Latino of any race were 2.19% of the population.  There were 96 households out of which 50.0% had children under the age of 18 living with them, 67.7% were married couples living together, 5.2% had a female householder with no husband present, and 22.9% were non-families. 22.9% of all households were made up of individuals and 13.5% had someone living alone who was 65 years of age or older. The average household size was 3.32 and the average family size was 3.99.  In the city, the population was spread out with 41.4% under the age of 18, 9.4% from 18 to 24, 26.3% from 25 to 44, 12.5% from 45 to 64, and 10.3% who were 65 years of age or older. The median age was 24 years. For every 100 females, there were 98.1 males. For every 100 females age 18 and over, there were 83.3 males.  The median income for a household in the city was $28,750, and the median income for a family was $34,444. Males had a median income of $30,000 versus $16,250 for females. The per capita income for the city was $9,265. About 13.2% of families and 16.1% of the population were below the poverty line, including 14.6% of those under age 18 and 22.5% of those age 65 or over.

Parker is a city in southwestern Fremont County, Idaho, United States. The population was 305 at the 2010 census. It is part of the Rexburg, Idaho Micropolitan Statistical Area.


Geography.

Parma is located at (43.786009, -116.942656), at an elevation of above sea level.  According to the United States Census Bureau, the city has a total area of, of which, is land and is water.

Demographics.

2010 census.

As of the census of 2010, there were 1,983 people, 710 households, and 506 families living in the city. The population density was. There were 779 housing units at an average density of. The racial makeup of the city was 75.4% White, 0.4% African American, 1.2% Native American, 0.7% Asian, 20.0% from other races, and 2.4% from two or more races. Hispanic or Latino of any race were 31.0% of the population.  There were 710 households of which 37.3% had children under the age of 18 living with them, 51.7% were married couples living together, 13.5% had a female householder with no husband present, 6.1% had a male householder with no wife present, and 28.7% were non-families. 24.6% of all households were made up of individuals and 10.2% had someone living alone who was 65 years of age or older. The average household size was 2.77 and the average family size was 3.31.  The median age in the city was 34.9 years. 30.1% of residents were under the age of 18; 7.8% were between the ages of 18 and 24; 24.1% were from 25 to 44; 24.2% were from 45 to 64; and 13.8% were 65 years of age or older. The gender makeup of the city was 50.6% male and 49.4% female.

2000 census.

As of the census of 2000, there were 1,771 people, 617 households, and 454 families living in the city. The population density was 1,919.5 people per square mile (743.2/km2). In the 2010 census there were 1,983 There were 676 housing units at an average density of 732.7 per square mile (283.7/km2). The racial makeup of the city was 83.91% White, 0.17% African American, 0.85% Native American, 0.96% Asian, 9.66% from other races, and 4.46% from two or more races. Hispanic or Latino of any race were 27.10% of the population.  There were 617 households out of which 38.2% had children under the age of 18 living with them, 60.3% were married couples living together, 9.2% had a female householder with no husband present, and 26.4% were non-families. 23.0% of all households were made up of individuals and 14.1% had someone living alone who was 65 years of age or older. The average household size was 2.85 and the average family size was 3.41.  In the city, the population was spread out with 31.4% under the age of 18, 7.8% from 18 to 24, 26.9% from 25 to 44, 19.1% from 45 to 64, and 14.9% who were 65 years of age or older. The median age was 33 years. For every 100 females, there were 97.9 males. For every 100 females age 18 and over, there were 94.7 males.  The median income for a household in the city was $31,964, and the median income for a family was $36,336. Males had a median income of $26,167 versus $18,636 for females. The per capita income for the city was $11,861. About 11.7% of families and 15.0% of the population were below the poverty line, including 13.9% of those under age 18 and 28.9% of those age 65 or over.

Parma is a city in Canyon County, Idaho, United States. The population was 1,983 at the 2010 census, up from 1,771 in 2000. It is the fourth largest city in the county (behind Middleton, Caldwell, and Nampa all in the county’s eastern portion) and the largest in the rural western portion. It is part of the Boise City–Nampa, Idaho Metropolitan Statistical Area.


Format.

The teams were divided into pools of four teams, who played a round-robin within the pool. Points were awarded in each pool on the standard schedule for rugby sevens tournaments (though different from the standard in the 15-man game)—3 for a win, 2 for a draw, 1 for a loss.  Building on the changes made for the 2012 Hong Kong Sevens, in which two separate 12-team competitions were contested, the International Rugby Board (IRB) expanded the event to a total of 28 teams, again divided into two competitions.  The main draw consisted of 16 teams—the same number that were involved in all regular series events. The contestants were the 15 core teams guaranteed of places in each series event, plus Hong Kong, which qualified as winner of the 2012 HSBC Asian Sevens Series. These teams competed in Pools A, B, C, and D. The winners and runners-up from each pool in the main draw qualified for the Cup quarterfinals. The losers of these quarterfinals competed in the Plate semifinals. The remaining 8 teams competed in the Bowl quarterfinals, with the losers of these matches competing in the Shield semifinals.  The second competition was the newly instituted World Series Pre-Qualifier. It featured 12 teams, specifically two qualifiers from each of IRB's six regional sevens competitions. These teams played in Pools E, F, and G. The top two teams from each pool, plus the top two third-place teams, advanced to the knockout stage. The four quarterfinal winners advanced, along with Hong Kong, to the World Series Core Team Qualifier at the 2013 London Sevens.

Teams.

28 teams participated:

Main draw.

The draw was made on February 21.

World Series pre-qualifier.

Ranking matches.

By making it to the semifinals, Russia, Zimbabwe, Tonga, and Georgia have qualified for the Promotion tournament, along with Hong Kong and the bottom three core teams following the 2013 Scotland Sevens. The promotion tournament took place at the 2013 London Sevens.

The 2013 Hong Kong Sevens was the 38th edition of the Hong Kong Sevens and the sixth tournament of the 2012–13 IRB Sevens World Series. It was hosted by its long-time home, Hong Kong Stadium.


Life.

Hélène de Portes was born Hélène Rebuffel in 1902, the daughter of, an engineer and director of Société des Grands Travaux de Marseille from 1917 to 1939. She married Count Henri de Portes, but they separated after she had borne him two children. She became Paul Reynaud's mistress in 1930, the year Reynaud entered the cabinet.

Reynaud's premiership.

As Reynaud rose in the 1930s through the upper ranks of his party, the Democratic Republican Alliance, de Portes' status moved upwards with him. She was described by insiders as "la porte à côté", the "side door" through which interested persons could gain access to the state of mind of the highest echelon of the French government.  As the power of Nazi Germany grew, Reynaud was identified by many French voters and deputies as a strong voice of resistance to Germany. He became Minister of Finance in 1938 and on 21 March 1940, after the German occupation of Poland, became Prime Minister of France. As such, he led a government whose status depended on its alliance with the United Kingdom. However, while the French alliance with England was strategic policy from the standpoint of the fight against Hitler, the alliance was obnoxious to the Countess, who has been described as "so violently anti-British that Hitler had once sent an emissary to woo her favours."  Reynaud's ability to lead his government against the Axis was compromised by his partner, who was on terms of friendship with the ambassadors from Mussolini's Italy and Hitler's Germany.

Battle of France.

After the catastrophic Battle of Sedan, the French forces and the government were forced to fall back from Paris. On 10–13 June 1940, Reynaud tried to re-establish his government at Tours. To reorganize the forces, he opened intensive negotiations on 12 June with General Charles de Gaulle, but Hélène de Portes personally intervened in their discussion and threw a temper tantrum, in their presence, at the prospect of what she considered to be futile further warfare. De Portes had a particular antipathy towards Winston Churchill and, according to his bodyguard Walter Thompson, actually lunged at Churchill's throat with a knife she had concealed within her Christian Dior dress.  As the French front continued to collapse, Reynaud, his government and his mistress briefly relocated at the Hotel Splendid, Bordeaux on 15 June. De Portes intensified her efforts to persuade her partner to offer terms of surrender, going to the length of intriguing with a key diplomat from the United States of America. The disgusted envoy later recalled that "I don't think her role in encouraging the defeatist elements during Reynaud's critical last days as prime minister should be underestimated. She spent an hour weeping in my office to get us to urge Reynaud to ask for an armistice."  Hélène de Portes' final intervention on 16 June was aimed at the last-ditch plan, strongly supported by Winston Churchill and Jean Monnet, to merge France and the United Kingdom into an emergency Franco-British Union. The document to create the Union was meant to be presented to the French Cabinet that evening as an alternative to requesting an armistice, but de Portes entered the stenographer's room where the document was being typed, read it, and then left to spread its contents among the Cabinet ministers who were leaning toward defeatism. Forewarned, the Cabinet rejected both the Union and Reynaud's government. The beaten premier resigned that evening.

Death.

Now private citizens (de Portes' title of Countess, which she had assumed with her marriage, had no legal standing in the Third Republic), Reynaud and de Portes left Bordeaux, driving southeast, away from the advancing German armies, intending to stop at Reynaud's holiday home at Grès, Herault, before fleeing to North Africa. On 28 June, with Reynaud at the wheel, their car inexplicably left the road and hit a plane tree at La Peyrade, between Frontignan and Sète; de Portes was all but decapitated, while Reynaud escaped with relatively minor head injuries. Hospitalized at Montpellier, Reynaud was arrested on his discharge and imprisoned for the rest of the war. At about the same time, French diplomat was apprehended by police in Madrid while in possession of a diplomatic bag containing gold and jewellery destined for de Portes' children evacuated to the USA. The affair was used as propaganda by the Vichy government to further discredit the Third Republic.

Epitaphs.

The British journalist Noel Barber characterized Hélène as follows: The most powerful woman in France, she exercised a malign influence on the destinies of her country.  The American journalist and author Vincent Sheean added: She was not chic, she was not charming, and she was not intelligent. Reynaud was used to her, depended on her, needed her: that was all.

Depictions.

Hélène de Portes is portrayed in Jean Marboeuf's 1993 film by Frédérique Tirmont. She was also the basis of the fictionalized character "Baronne de Porte" in Dennis Wheatley's novel, "The Black Baroness".

Hélène de Portes, born Hélène Rebuffel, (1902-28 June 1940), was a Frenchwoman best remembered for the strong influence she exerted on her lover Paul Reynaud, premier of France under the Third Republic, shortly before and at the time France's June 1940 debacle at the hands of Nazi Germany. A Fascist sympathizer, she was described as '..a middle aged woman, with a shrill voice, and a clamorous, demanding manner, who chatted like a magpie and lost her temper with ease.' Charles de Gaulle called her 'a turkey', while Winston Churchill nicknamed her 'the parrot'.


Gameplay.

The game features online and offline single player and multiplayer modes in the form of both player versus player and player versus environment experiences.  Players take turns to manipulate units on a battle map with the objective of eliminating their rivals' most important unit, the wizard. If a player loses their wizard, they lose the match and all of their units are removed from the battle map. By casting spells the wizard can create new units, equip themselves with weapons, or directly attack another unit.  The single-player campaign and Realm Quest mode are a narrative game world map overlay linking together a series of battles culminating in a boss battle with the player(s) pitted against a wizard king unit and a wizard unit. The mode introduces both strategy game and role-playing game elements such as capturing infrastructure, sending units to a target, hiring mercenary units to accompany the wizard unit, and resolving story driven elements.  Each match can involve the player controlling a number of creature units based upon mythical and real-life animals and supernatural beings. The player may start with these creature units by using mercenaries or villagers, or add creature units per turn by casting a spell to summon them. Many of these creature units also have abilities to distinguish them from others in a more tangible way than merely by differing values such as attack rating.

"Duel Mode" and "Forge Crystals" expansion.

On 25 July 2016, Snapshot Games released version 1.10 adding the new features "Duel Mode" and "Forge Crystals." The Duel Mode of play created a single one-button click method of starting a battle against either a human or AI opponent, depending upon which was available. Winning unbroken Duels resulted in the player receiving escalating rewards in the form of Gold and Forge Crystals plus, once per day, a Talisman. The Forge Crystals could then be spent in the now unlocked to all players Equipment Forge allowing many for the first time to personalise their game character's appearance and create custom Bodygear and Staffs.

"Chaos Reborn: Adventures".

On September 12, 2018, mobile game developer Big Blue Bubble released a mobile port of "Chaos Reborn" entitled "Chaos Reborn: Adventures". The game was praised by critics, receiving a gold rating by Pocket Gamer and a 5 star rating by Pocket Tactics.

Reception.

The game was well received, and was given a score of 85/100 on review aggregation website Metacritic. "PC Gamer" awarded it a score of 87%, saying "A true wizard’s wheeze, and a fine return for one of gaming’s oldest tactical classics." It was subsequently nominated for a Golden Joystick Award in the 2015 Best Indie Game category, losing out to "Kerbal Space Program".

Chaos Reborn is a turn-based tactical role-playing game developed by Snapshot Games and was part funded through a Kickstarter crowdfunding campaign in April 2014. Following an early access release in December 2014, the full game was released in October 2015.


Early life and education.

Annie Ruth Baeta was born on 7 October 1918 in Lomé, French Togoland. Her parents were schoolteacher, Henrietta Baëta and Presbyterian minister, Robert Domingo Baëta. She belonged to the Ewe ethnic group of southeastern Ghana and Togo. A member of the notable Baëta family, she was one of eight children, though only Annie and her siblings Christian, Lily, and William lived to adulthood. Her older brother, Christian Baëta was an academic and Presbyterian minister who was elected the Synod Clerk of the Evangelical Presbyterian Church of the Gold Coast from 1945 to 1949 and was instrumental in the establishment of the University of Ghana, Legon in 1948. Her parents wanted her to have an English education and she lived in the coastal town of Keta (then in British Togoland) with her maternal grandmother.  Baeta attended Achimota College and earned her teacher's certificate in 1937. She was Headmistress and Schoolteacher at the Evangelical Presbyterian Girls School from 1940 to 1946. After the buildings of the Evangelical Presbyterian School for Girls were washed away by the ocean in 1940, the girls were moved to the Evangelical Presbyterian School for Boys. The school was overcrowded, and Baeta knew it would be difficult to find funding for new buildings. She approached the Evangelical Presbyterian Church Choir and transformed it into a drama group that put on the George F. Rool musical "David the Shepherd Boy". The performances were successful and the group was invited to perform in major Gold Coast cities and in Togo. Baeta was able to raise funds for a new school for the girls that was built by December 1945.

Studies in London.

Baeta's time with the Evangelical Presbyterian Girls School was fulfilling but left her restless. She passed the London Matriculation Examination in 1945. Her elder brother Christian made inquiries to the University of London on her behalf and her mother secured loans for her. She was admitted to the London School of Economics and Political Science in 1946. Her male colleagues from the Gold Coast urged her to abandon her studies, thinking them too difficult for a woman. One offered to arrange a position for her at the Paris Academy to study dress design. She told them she would return to the Gold Coast if she didn't pass her first examination. She passed, and was no longer bothered by the men. She received her LLB in 1949 and was called to the Bar at Lincoln's Inn the following year. Baëta also participated in religious and social work during her free time in London. She worked with youth camps organised by the Young Women's Christian Association (YWCA) and was elected to the Executive Committee of the World YWCA during her final years as a student.

Legal career, women's rights activism and legacy.

Baeta established a private practice upon her return to the Gold Coast in 1950. She led a public relations initiative to establish a national YWCA for the colony and a documentary film was produced as part of the drive to educate the public about the organisation. Baeta married Fred Jiagge on 10 January 1953. She gave up the Bar and became a magistrate for the Bench in June 1953. In 1954, she began regularly attending the conferences of the World Council of Churches. From 1955 to 1960, she was president of the YWCA. She and her husband adopted a child, Rheinhold, in 1959. In 1959, she became a judge for the Circuit Court.  After learning of a young woman who was raped in Accra after coming there from the countryside for a job interview, Jiagge sought government assistance to provide safe accommodations for visiting women. She secured an audience with Ghanaian president Kwame Nkrumah and convinced him of the project's importance. She spearheaded a successful campaign in 1961 that raised substantial funds for a YWCA women's hostel. That year she became a judge of the High Court of Justice. From 1961 to 1976 she was a council member of the University of Ghana. In 1962 she was appointed to represent Ghana on the United Nations Commission on the Status of Women. She was asked to chair the Commission to Investigate the Assets of Senior Public Servants and Named Political Leaders in 1966. She championed women's rights through her work at the United Nations, representing Ghana through 1972. In 1966, she was elected rapporteur of the Commission. During a meeting in Iran in 1967, the Commission was charged with preparing a document on the elimination of discrimination against women. Worried that a draft wouldn't be finished by the time they left Iran, Jiagge met other members of the team, including Iranian Princess Ashraf Pahlavi, and drafted the document in a single night. It was sent to UN member-states for comment and was later adopted. The Declaration was an important precursor to the legally binding 1979 Convention on the Elimination of All Forms of Discrimination Against Women. Jiagge was elected chair of the Commission's 21st session in 1968.  Jiagge was awarded the Grand Medal of Ghana and the Gimbles International Award for Humanitarian Works in 1969. She was named a judge of the Court of Appeal that same year, the highest court in Ghana at the time. She was the first female judge of the Court of Appeal. She was awarded an honorary law degree from the University of Ghana in 1974. In 1975, she founded the Ghana National Council on Women and Development and was its first chair. As chair, she convened a meeting of Ghanaian women to learn their views on Equality, Development and Peace, the theme of the 1975 International Women's Conference in Mexico. She learned that access to credit was a priority for her country's women and led Ghana's delegation to the conference. She and others pledged seed money for a women's bank, and the organisation Stitching to Promote Women's World Banking (now Women's World Banking) was founded and headquartered in New York. She later served on the board of Women's World Banking in Ghana. Jiagge also served as a president of the World Council of Churches from 1975 to 1983. In 1979, she was a member of the constituent assembly which wrote the constitution of the Ghana's Third Republic. She was the World Council of Churches' moderator for their Programme to Combat Racism from 1984 to 1991 and mobilised against South Africa's system of apartheid.  Jiagge was appointed President of the Court of Appeal in 1980. That year she led the Ghanaian delegation again to the International Women's Conference in Copenhagen. She remained President of the Court of Appeal until her retirement in 1983. She helped plan the Fourth World Conference on Women as a member of the UN Secretary-General's advisory group that year. In 1985 she served on a United Nations panel that conducted Public Hearings on the Activities of Transnational Corporations in South Africa and Namibia. She also served on the Committee of Experts who drafted Ghana's Constitution in 1991.  From 1993 until her death, Jiagge served on Ghana's Council of State. She died on 12 June 1996 in Accra. The Justice Annie Jiagge Memorial Lectures were established by the Ministry of Women and Children in 2009. A boarding house, the "Annie Baëta Jiagge House," formerly, "House 17," at her alma mater, Achimota School was named in her memory in recognition of her role as a trailblazer in the legal profession in Ghana.

Annie Ruth Jiagge, (née Baëta; 7 October 1918 – 12 June 1996), also known as Annie Baëta Jiagge"," was a Ghanaian lawyer, judge and women's rights activist. The first Ghanaian woman to become a lawyer, she was also the first woman in Ghana and the Commonwealth of Nations to become a judge. She was a principal drafter of the Declaration on the Elimination of Discrimination Against Women and a co-founder of the organisation that became Women's World Banking.


Early life.

Appelman was born and raised in Palo Alto, California, and attended high school there. Appelman played many sports in high school, including track and field, wrestling, and competitive martial arts. Appelman earned a black belt in karate in high school. He went to attend the University of California, Santa Barbara, where he earned a BFA in acting. Appelman then attended the Yale School of Drama for his MFA in acting.

Career.

Appelman's first job out of graduate school was playing Tybalt in "Romeo and Juliet". He would then go on act in regional theatre in such productions as "Hamlet, Timon of Athens", "King Lear" and "A Midsummer Night's Dream". Appelman then went on to the New York City theatre district to perform in Theatre for a New Audience's "A Midsummer Night's Dream" as Demetrius and Broadway's "War Horse" as Sgt. Fine.  Appelman went on to perform in film and on television. He appeared in 2013's "Kill Your Darlings" as Luke Detweiler. His first lead role was in 2014's "A Midsummer Night's Dream" as Demetrius. In season 15 of "", Appelman guest starred as Officer Jimmy Hamilton in two episodes. He guest starred as Joe Corbin during the second season of the "Sleepy Hollow" television series. He had a recurring role during season three of "Beauty & the Beast" as Alton Finn. On August 21, 2015, it was announced that Appelman had been made a series regular on "Sleepy Hollow". Appelman was featured in Sheri Wilner's play "The Miracle of Chanukah" and Patrick Gabridge's play "Christmas Breaks" for public radio show and podcast. In 2016, Appelman appeared in the film "Complete Unknown". In 2017, he portrayed Assistant US Attornery Matt Miller on "Chicago P.D."

Zach Appelman (born August 5, 1985) is an American film, television and theatre actor. He is known for portraying Luke Detweiler in the 2013 film "Kill Your Darlings", Joe Corbin in the television series "Sleepy Hollow", and Alton Finn in the television series "Beauty & the Beast".


Gameplay.

"The OneeChanbara" series puts players in control of a lone girl (or in later games, two girls with the ability to tag out) against a legion of the undead. Players guide their characters through the stages, completing tasks while hacking through enemies. The player-character's weapon becomes progressively covered in blood, causing their attacks to be slower and to inflict less damage, even getting stuck in enemies if it gets too bad. This is represented by a "Blood Meter" showing how dirty the weapon is. To prevent this, players must actively clean off their sword to keep the blood meter from filling up.  In addition, there is also the "Blood Lust" meter. As a character kills enemies, this meter starts to fill. Once the meter is full, the character will go into a "blood frenzy". This gives the character an increase in attack power, but drains health. To recover from a blood frenzy, the player must use statue items, which are dropped by dead enemies. Additionally each level will contain a large statue. Going to the large statue will remove the blood frenzy and also recover any lost health.  Unlike the stereotypical zombies, most of the undead encountered in this game series are not automatically killed by decapitation; some would continue to attack even after losing their upper torsos. This is briefly explained in OneChanbara: Bikini Zombie Slayers by the notion that, while humans killed due to infection with bodily fluids of the undead will be zombified, most undead are not re-animated corpses but are merely made by some supernatural power that created them to look similar to humans.

Series.

"The OneeChanbara" series includes several upgrades and sequels that have been released since the original game: Aya, the series' main character, has also appeared in "Simple 2000 Series Vol. 91: The All*Star Kakutou Matsuri" (released as "All-Star Fighters" in Europe in March 2007 ), a fighting game featuring characters from many different Simple 2000 series releases. Saki has been featured in a cell phone D3 fighting game as well.  A set of 6 (8 if the 2 secret variations are counted) official gashapons was released in Japan on January 4, 2007 by Yujin. The set consists of characters from the series, including Aya and Saki from the first game, Reiko and Riho from the third and fourth games respectively, and Aya and Saki from the mobile game.

Live-action film.

The live-action film adaption of "OneeChanbara" was made starring Eri Otoguro, Manami Hashimoto, and Tomohiro Waki base. It was directed by Yohei Fukuda, and the executive producers on the film were Hideki Tsujhata, Takafumi Ohashi, and Shunsuke Yamada. The extended version of this film under the title "OneChanbara: Bikini Zombie Slayers" was released on DVD in Japan on July 3, 2009. The theme song is 69 Balloons by Aural Vampire.

, initially defined, is a series of action horror games developed by Tamsoft for D3 Publisher's Simple 2000 series for the PlayStation 2 and later ported on Xbox 360, Wii, PSP, PS3, PS4 and cellular phones. The title is a portmanteau of the Japanese words and. It is commonly spelled and pronounced incorrectly as ""Onechanbara"" (as in [wuhn] instead of [O nē]), due to the simplified English/U.S. release titles, which has become a synonymous alternative spelling variation.