Pearl (Steven Universe)

Pearl is a fictional character from the animated television series "Steven Universe", created by Rebecca Sugar. She is a "Gem", a fictional alien being that exists as a magical gemstone projecting a holographic body.
She is portrayed as a loving, gentle and delicate motherly figure for Steven, the protagonist of the series, and can be a fierce fighter. However, she also tends to be overprotective, has low self-esteem, and is deeply overwhelmed with grief caused by the loss of Steven's mother Rose Quartz, whom she loved.
She is frequently praised for being a positive depiction of a queer character, though her strong obsession with Rose has been described as "unhealthy".
Development and casting.
Pearl's look was redesigned between the pilot episode of "Steven Universe" and the first regular episode. Originally having peach hair styled in a quiff and a much more intricate outfit, by "Gem Glow", she had the ballerina-esque design she retained before her regeneration in "Steven the Sword Fighter".
Pearl's voice actress, Deedee Magno Hall, started voice acting at a young age for "The All-New Mickey Mouse Club". She moved on to do Broadway performances in the 1990s and 2000s, such as "Miss Saigon" and "Wicked", but was contacted by Rebecca Sugar to portray a role in "Steven Universe" in 2013. Pearl was her first major role in an animated series.
Character.
Alongside Garnet, Amethyst and protagonist Steven, Pearl is one of the Crystal Gems, a group of Gems that protect humanity and the Earth from danger. Pearl has been described as "intense [and] with a laser focus".
In Gem culture, Pearls are said to be "made-to-order servants" who serve higher-class Gems. Due to their status as simple servants meant for "standing around and looking nice and holding your stuff", they are seen as status symbols. Pearl displays a strong inferiority complex and self-esteem issues stemming from the fact that she was created to be a servant; she values her independence but sometimes has trouble learning not to feel subordinate to others. Despite her struggles, Pearl learned to fight and became a formidable swordfighter. She can also summon a spear from the gemstone in her forehead.
The fifth-season episode "A Single Pale Rose" reveals that Pearl was originally the servant of Pink Diamond, a Gem leader who eventually gave up her status to become Rose Quartz, the leader of the Crystal Gems. Although Rose encouraged Pearl's independence, Pearl never lost her devotion to Rose, which included romantic attraction, even after Rose "gave up her physical form" to allow Steven to be born. According to Vrai Kaiser of "The Mary Sue", Pearl deals with severe unresolved grief, coupled with deep-seated issues with self-worth, resulting in her falling prey to "powerful, impulsive emotions" whenever Rose is mentioned. Naith Payton of "PinkNews" described Pearl's devotion to Rose as "unhealthy and obsessive". Pearl works to correct these issues, and the show is written in a way that allows watchers to sympathize with her.
Reception.
Ben Bertoli of "Kotaku" stated that Pearl is a character that a viewer may dislike at the start of the series, but that she becomes more relatable as the story continues and the viewer learns more about her. Sara Goodwin of "The Mary Sue" even described her as "the most human" of the Gems because of how she struggles with "bitterness, thoughts of inadequacy, and jealousy". Though she stated that Pearl can often be "insufferable", Goodwin likes the character for her humanity and hard work.
In 2014, Deedee Magno won a Behind the Voice Actor Award, in the category "Best Female Lead Vocal Performance in a Television Series - Comedy/Musical", for her portrayal of Pearl.
Pearl was very positively received for being a lesbian character in an animated series, following a pattern of LGBT themes in children's animated series such as "Adventure Time" and "The Legend of Korra". "The Mary Sue" praised the show for not falling into the "psycho lesbian" trope, which "often casts queer women as [...] predators of would-be heterosexuals", even in its depiction of Pearl's jealousy when Rose shows interest in a male character in flashbacks.
Censorship.
A short flashback scene in which Pearl intimately dances with Rose in order to fuse with her, from the episode "We Need to Talk", was controversially censored by Cartoon Network UK for British audiences, as they felt that "the slightly edited version is more comfortable for local kids and their parents".


List of boots

In this list of boots, a boot type can fit into more than one of the categories, and may therefore be mentioned more than once.


Eka Lakhani

Eka Lakhani is an Indian fashion costume designer, who has worked in the Hindi, Tamil and Telugu film industries. After beginning her career as an intern on the sets of "Raavan" (2010), she has become director Mani Ratnam's costume designer for his films since 2013. She has also worked in projects by directors Rajkumar Hirani, Karan Johar and Gautham Menon.
Career.
Lakhani studied fashion design at SNDT Women's University, Mumbai for three years, and then spent a year at Fashion Institute of Technology, New York City. During the period, she assisted designers during New York Fashion Week. Once she returned to India, she worked as an intern with Sabyasachi Mukherjee during the making of Mani Ratnam's bilingual "Raavan" (2010) aged 23. The film's cinematographer Santosh Sivan subsequently hired her to be the principal costume designer for his Malayalam period drama, "Urumi" (2011), set in 15th century Kerala. For the film, she had to dress actors including Vidya Balan, Genelia D'Souza and Tabu in Portuguese and Indian period costumes.
Impressed by her work in "Urumi", Mani Ratnam signed her to be the main costume designer in "Kadal" (2013). She also portrayed a minor role in the film as the wife of the character portrayed by Arjun. She later continued to regularly collaborate with Mani Ratnam, winning acclaim for her work for actresses Nithya Menen and Aditi Rao Hydari in "O Kadhal Kanmani" (2015) and "Kaatru Veliyidai" (2017), respectively. For the upcoming period drama "Ponniyin Selvan" (2022), Lakhani travelled to Tanjore temples to study sculptures, meet weavers, and understand the heritage before starting the process of designing.
Lakhani has often worked on biopics, including on films such as "Sanju" (2018) on Sanjay Dutt and the web series "Queen" (2019) on Jayalalithaa. To prepare for biopics, she often met people involved on the stories to better reflect their fashion sense during the respective historical periods.
In 2019, she set up "Team E" in which senior designers work on projects under her supervision. The first project handled by Team E was the Madras Talkies production, "Vaanam Kottatum" (2020).


Feng-hsiung Hsu

Feng-hsiung Hsu (born January 1, 1959) () (nicknamed Crazy Bird) is a Taiwanese-American computer scientist and the author of the book "Behind Deep Blue: Building the Computer that Defeated the World Chess Champion". His work led to the creation of the Deep Thought chess computer, which led to the first chess playing computer to defeat grandmasters in tournament play and the first to achieve a certified grandmaster-level rating.
Hsu was the architect and the principal designer of the IBM Deep Blue chess computer. He was the recipient of the 1990 Mephisto Award for his doctoral dissertation and also the 1991 ACM Grace Murray Hopper Award for his contributions in architecture and algorithms for chess machines.
Career.
Hsu was born in Keelung, Taiwan, and came to the United States after graduating from National Taiwan University with a BS in E.E. He started his graduate work at Carnegie Mellon University in the field of computer chess in the year 1985. In 1988 he was part of the "Deep Thought" team that won the Fredkin Intermediate Prize for Deep Thought's grandmaster-level performance. In 1989 he joined IBM to design a chess-playing computer and received a Ph.D. with honors from Carnegie Mellon University.
In 1991, the Association for Computing Machinery awarded Hsu a Grace Murray Hopper Award for his work on Deep Blue. In 1996, the supercomputer lost to world chess champion Garry Kasparov. After the loss, Hsu's team prepared for a re-match. During the re-match with Kasparov, the supercomputer had double the processing power it had during the previous match. On May 11, 1997, Kasparov lost the sixth and final game, and, with it, the match (2½–3½).
Prior to building the supercomputer Deep Blue that defeated Kasparov, Hsu worked on many other chess computers. He started with ChipTest, a simple chess-playing chip, based on a design from Unix-inventor Ken Thompson's Belle, and very different from the other chess-playing computer being developed at Carnegie Mellon, HiTech, which was developed by Hans Berliner and included 64 different chess chips for the move generator instead of the one in Hsu's series. Hsu went on to build the successively better chess-playing computers Deep Thought, Deep Thought II, and Deep Blue Prototype.
In 2003, Hsu joined Microsoft Research Asia, in Beijing. He has stated the view that brute-force computation has eclipsed humans in chess, and it could soon do the same in the ancient Asian game of Go.


Espionage (production team)

Espionage is a New York-based Norwegian songwriting and music production team consisting of Espen Lind and Amund Bjørklund. Their breakthrough came in 2006 as co-writers of Beyoncé's worldwide smash "Irreplaceable", which was number 1 on the "Billboard" Hot 100 for 10 consecutive weeks and the best selling single in the US in 2007. They are probably best known as the producers and cowriters behind several of Train's major hits after 2009, including "Drive By" and their comeback single "Hey, Soul Sister", which is among the 20 highest selling singles of all time in the US. Espionage has received numerous BMI Awards.
US breakthrough.
In 2006 Lind and Bjørklund co-wrote the third single from Beyoncé Knowles' "B'day", "Irreplaceable", and followed up by co-writing the third single from Chris Brown's second album "Exclusive", "With You". Both were major hits that marked Espionage's breakthrough into the US market. Written together with fellow Norwegian producers Stargate, the tracks were both based on a fingerpicked acoustic guitar figure laced with a programmed beat. Lind and Bjorklund have collaborated with Stargate on numerous other tracks, such as Ne-Yo's "Go On Girl", Jennifer Hudson's "Can't Stop the Rain", and Jordin Sparks' "Just for the Record".
In 2008 and 2009 Espionage co-wrote several songs from "American Idol" winner David Cook's debut album, including the gold single "Come Back To Me" (#6 on the Hot Adult Top 40), as well as producing and/or writing songs for Cavo, Trey Songz and Elliott Yamin.
They also worked on alternative rock band Train's album "Save Me, San Francisco", including producing and co-writing the Top 3 single "Hey, Soul Sister", which is widely regarded as the band's commercial comeback. Singer Pat Monahan explained to website GoErie.com how the song came about: "I said, 'I want to write an INXS-y song", Monahan recalled. "So, they started playing kind of an INXS-y song, and I wrote the song '"Hey, Soul Sister" to it and the melodies and started to sing it. And I was like, 'Man, this just doesn't sound great to me. One of the guys, Espen, who's like a huge star in Norway, picked up a ukulele, and said, 'Hey, how about this?' I was like, 'Are you (kidding) me?' And it made the difference. It made my words dance. It made sense. These words were meant to dance with ukulele and not guitar." It has sold close to 6 million downloads in the US and is the most downloaded song in Columbia Records' history.
Train's 2012 International hit single "Drive By" was produced and co-written by Espionage.
The song became Train's third Billboard Hot 100 Top 10, and also a Top 10 hit in 14 countries around the world. It has sold over 2 million copies in the US and was awarded a double platinum certification by the RIAA on July 23, 2012.
Lind and Bjorklund also produced the band's 2012 album "California 37" with Butch Walker, co-writing 5 tracks.


Clausula (music)

The clausula (Latin for "little close” or “little conclusion"; plural clausulae) was a newly composed section of discant ("note against note") inserted into a pre-existing setting of organum. Clausulae flourished in the late twelfth and thirteenth centuries and were associated with the Notre Dame school. The origin of the clausula has long been subject of scholarly debate, as the relationship between clausulae and motets is very complicated. Clausulae eventually became used as substitutes for passages of original plainchant. They occur as melismatic figures based on a single word or syllable within an organum.
Origins.
Clausulae emerged from the compositional practices of the Notre Dame school in Paris c. 1160–1250 (during the stylistic period known as Ars antiqua). The composers Léonin and Pérotin in particular contributed heavily in composing clausulae. Rather than write entirely new music, the preference was to take existing music, that is, plainchant melodies, and develop or improve upon them. According to an English author known as Anonymous IV (ca. 1280), "Pérotin was better at making clausulae than Léonin had been in that Pérotin was better at making better discant style of clausulae." The appearance of clausula provided the first rhythmic system. (It is hard to find rhythmic notation in the earliest motets because of the lack of the use of clear rhythmic notation in the manuscripts.)Pérotin's clausulae make use of the rhythmic modes, whose strict metrical feet necessitated that voices change notes together ("discantus"). This was in contrast to the earlier practice of one voice moving in a free rhythm above a "tenor" voice (Latin "tenere": "to hold") sustaining the long notes of a "cantus firmus". The tenor line was often repeated to allow for expansion of the clausula; this was the origin of the technique known as isorhythm.
The scholarly debate over the origin of the clausula continues. However, the term clausula already used in ancient Roman rhetoric, where it denoted "a rhythmic figure used to add finesse and finality to the end of a sentence or phrase." In particular, rather than seeing clausula as a genre, the part composed in the style of discantus with a definite final cadence was called clausula. Thus, there are more studies that relate specifically to the motet, rather than studies of the origin of the clausula. Some assert that "the motet arose through the addition of Latin texts to the melismatic upper voices of the two-voice clausulae and was thereby able to explain for the first time the previously baffling and unprecedented verse structures of many motet texts." Others claim that by the removal of the text of a motet in its original composition, it was changed into a clausula. As the relationship between clausulae and motets is very complicated, there are conflicting conclusions on whether the clausula or the motet came first. Instead, the relationship between the two is complexly intertwined and closely influenced by each other.
Function and development.
Clausulae enriched pre-existing settings of organum. Hundreds of clausulae in two, three and four parts were incorporated into the Magnus Liber Organi of Léonin and Pérotin. Others were arranged in liturgical order within manuscripts so that they could be easily introduced into a particular organum setting or piece of plainchant. As they were notated separately, it was possible for them to be expanded and developed further, and they eventually became standalone pieces which could be sung at certain points in the liturgy. At that time, there were some clausulae that people liked or were particularly popular, for example, those composed on the tenor REGNAT from the verse of the Ascension "Alleluia Hodie Maria virgo" in the early thirteenth-century. Over time, the appearance and use of clausula changed little by little, but the images of clausula found in different times and regions still had similar characters. Some clausula matched the melodic lines from the French motet without text. This is an important clue to the eventual transformation of clausula into the form of motet"." The composition of clausulae died out in the mid-13th century as they were replaced by motets as the main platform for the development of new compositional techniques. Norman Smith claimed that the music of pre-existing clausulae in three early thirteenth-century Latin motets in the Florence Manuscript resemble each other so much that it's hard to find differences in rhythms between the motet and the clausula, which clearly exists. However the difference reflects the artistic changes that occurred in the process of texting clausula. Obviously, possibilities and usefulness of clausula played a pivotal role in the creation of an important musical genre called the motet.


John Edward Chilberg II

John Edward Chilberg II (September 24, 1929 in California – March 2, 1987 in Los Angeles, California, United States) was a noted American production designer and art director. He was a member of the Swedish-American Chilberg family, and his grandfather John Edward Chilberg was the director of the 1909 Alaska–Yukon–Pacific Exposition. John is mostly known as the art director in "" at Paramount Pictures, and his work in television series like "Dragnet", "Dynasty", "The Colbys", and miniseries as "Rich Man, Poor Man". He was mostly credited as: John E. Chilberg II, and sometimes credited as: Jack E. Chilberg II, Jack Chilberg, John E. Childberg II, John Chilberg, John E. Chilberg, John E. Childberg, John Childberg, Jack Childberg. John was very productive in his work between 1968 and 1986. He died in 1987, aged 57, in Los Angeles, California.
John was nominated twice for Emmy Awards, in 1979 for Outstanding Art Direction for a Series: "Battlestar Galactica" episode "Saga of a Star World" together with others, and in 1981 for Outstanding Art Direction for a Series: "Dynasty" premiere episode(#1): "Oil" also together with others.


Vance Lorenzini

Vance Lorenzini is an American production designer who has produced and designed thousands of television commercials and music videos, as well as several feature films and television projects.
He has collaborated with American filmmakers and producers including Roland Emmerich, Michael Bay, Adrian Lyne, David Fincher, Dominic Sena, Antoine Fuqua, George Lucas, Joe Pytka, Leslie Dektor, Tony Scott, Brett Ratner, Tim Story, F. Gary Gray, Marcus Nispel, and Forest Whitaker. He has made videos for music artists Madonna, Kanye West, Mariah Carey, Jennifer Lopez, Staind, Janet Jackson, Michael Jackson, Elton John, ZZ Top, Puddle of Mudd, Prince, Snoop Dogg, Nine Inch Nails, Eminem, Limp Bizkit, and Aerosmith. Advertising clients have included Nike, Budweiser, Apple Inc., Coca-Cola, Pepsi, Ford, BMW, Levis, Kodak, United Airlines, Miller Beer, and Porsche.
He has been recognized with numerous awards and certifications of artistic excellence. The Museum of Modern Art NY has honored his collective work.


Allure (magazine)

Allure is an American women's magazine focused on beauty, published monthly by Condé Nast in New York City. It was founded in 1991 by Linda Wells. Michelle Lee replaced Wells in 2015. A signature of the magazine is its annual Best of Beauty awards—accolades given in the October issue to beauty products deemed the best by Allure's staff.
History.
In 1990, S.I. Newhouse Jr., chairman of Condé Nast, and then editorial director Alexander Liberman approached Linda Wells to develop a concept they had for a beauty magazine. At the time, Wells was the beauty editor and the food editor at "The New York Times Magazine".
The magazine's prototype was shredded shortly before the scheduled launch date and, after overhauling everything (including the logo), "Allure" made its debut in March 1991 designed by Lucy Sisman. The magazine's original format was oversize, but this prevented it from fitting into slots at grocery-store checkouts and required advertisers to resize their ads or create new ones. After four issues, "Allure" changed to a standard-size glossy format.
Impact.
"Allure" focuses on beauty, fashion, and women's health. "Allure" was the first women's magazine to write about the health risks associated with silicone breast implants, and has reported on other controversial health issues.
After Lee took the helm in late 2015, the brand was celebrated for promoting diversity and inclusivity. In 2017, "Adweek" named Allure Magazine of the Year and awarded Lee as Editor of the Year.
The magazine's circulation, initially 250,000 in 1991, is over 1 million as of 2011.
Many writers have contributed to "Allure". Among them are Arthur Miller, John Updike, Jhumpa Lahiri, Michael Chabon, Kathryn Harrison, Frank McCourt, Isabel Allende, and Francine du Plessix Gray. Elizabeth Gilbert’s essay “The Road to Rapture,” published in "Allure" in 2003, was the precursor to her memoir, "Eat, Pray, Love" (Viking Adult). Photographers who have shot for "Allure" include Michael Thompson, Mario Testino, Patrick Demarchelier, Tina Barney, Marilyn Minter, Carter Smith, Steven Klein, Steven Meisel, and Helmut Newton. Cover subjects have included Demi Lovato, Jennifer Aniston, Jennifer Lopez, Helen Mirren, Zendaya, Julia Roberts, Angelina Jolie, Reese Witherspoon, Mary-Kate and Ashley Olsen, Victoria Beckham, Beyoncé, Fergie, Britney Spears, Lupita Nyong'o, Jessica Simpson, Kate Hudson, Christina Aguilera, Rihanna, and Gwen Stefani.
(See List of Allure cover models).
Best of Beauty Awards.
"Allure" began its Best of Beauty awards program in the mid-1990s, at the initiative of Wells, to help readers choose among the vast array of makeup, skin-care, and hair-care products on the market.
"Allure" has two sets of awards, one judged by the magazine's editors and the other by readers. A “winners’ seal” logo, developed by "Allure", appears on many of the winning products. To ensure that its judgments are neutral, "Allure"'s ad department isn't involved in the selections.
In 2010, the magazine developed an iPhone app that highlights the winning products and tells users where they can buy them based on their location.
Controversy.
There was an outrage when the magazine showed Marissa Neitling with an Afro haircut.
In the media.
Wells, along with "Allure" editors Michael Carl and Kelly Atterton, have appeared as judges on the Bravo TV series "Shear Genius".
"Allure" editors have appeared as experts on programs such as the "Today" show and "60 Minutes", and "Allure" stories frequently receive national attention.
Hilary Duff played an "Allure" intern in "Cheaper by the Dozen 2".
In the 1946 suspense movie, Rope, directed by Alfred Hitchcock, when the character Janet Walker (Joan Chandler) is asked about her new job, she replies that she works at "...an untidy little magazine known as Allure".


Ruhi Hamid

Ruhi Hamid is a British filmmaker, born in Tanzania of Asian origin, who has made award-winning documentaries for the BBC, Channel 4, Al Jazeera International, and other UK, US and European broadcasters. Her films have covered international stories — in Africa, Asia, Europe, South America, the USA, and the Middle East — dealing with social and political issues about women religion, poverty, health, and human rights. A graduate of London's Royal College of Art, she is also a graphic designer.
Biography.
Early years.
Ruhi Hamid was born in Mwanza, Tanzania, to Asian parents, and moved to England at the age of 12. After earning a BA in Information Graphics from Middlesex Polytechnic in 1980, she attended London's Royal College of Art, and on graduating worked as a graphic designer: in the Netherlands with the influential Studio Dumbar, in Zimbabwe as part of a collective of young black designers and photographers, the Maviyane Project, and in London at the BBC for several years.
Film career.
She began her filmmaking career with the BBC's Community Programme Unit on the BAFTA award-winning series "Video Diaries" and "Video Nation", before leaving in May 2000 to work as a freelance producer/director. For her debut as a freelance, she gained unprecedented access to the Pakistani criminal courts to make the three-part Channel 4 series "Lahore Law" (2002), which was nominated for a Grierson Award. Specialising as a solo director/camerawoman, often at significant personal risk, she went on to make other well regarded films for the BBC, Channel 4, Arte and Al Jazeera International, including "Women and Islam" (2004), "The Rockstar and the Mullahs" (2003), and "Women, Weddings, War and Me" (featuring Nelufar Hedayat, 2010). Hamid has also collaborated with prominent broadcasters including Jonathan Dimbleby and BBC Three's Reggie Yates.
Her films have been described as "informative journeys into the world of people and their cultures", her projects having included documentaries about the Hmong people trapped in the jungle of Laos (she filmed the first ever footage of their plight and went on to campaign on their behalf at the United Nations, the US State Department and at the EU Commission in Brussels), farmers in China, New Orleans in the aftermath of Hurricane Katrina, gang crime and violence in Cape Flats, South Africa, and "At the Epicentre", a film on the aftermath of the Asian tsunami in Banda Aceh, Indonesia, that won the Rory Peck Award in 2005. She has also campaigned through video for greater awareness of people with HIV/AIDS in rural India.
According to ESPN, "Hamid's empathy and gift for understanding the ordinary person has enabled her to gain access to peoples, cultures and institutions around the world, including the Amazonian Indians, Shamans in the Siberian forests, refugees in Uganda, women in Afghanistan and the British Foreign & Commonwealth office in Pakistan. Hamid is able to work with children and old people alike and turn her skills to more populist programmes working with rock stars, untried and professional presenters and celebrities like Michael Palin on a film about transport, explorer Benedict Allen, newscaster Samira Ahmed, the food writer and broadcaster Stefan Gates and more recently a film in a three-part series on Africa with Jonathan Dimbleby.<br>
Hamid's interest lies primarily in telling intimate human stories of people caught up in complex political or social conditions in our world today. She has a talent for gaining the trust and collaboration of those sensitive and suspicious of the media... Her documentaries are always character driven with strong narratives."
Together with her partner Misha Maltsev, also a film and music professional, she runs Partisan Films.


Panzer Campaigns

Panzer Campaigns is a series of operational level wargames developed by John Tiller Software and published until 2010 by HPS Simulations. There are currently twenty-five titles in the series, spanning the various fronts of World War II.
Games.
"Smolensk '41" (1999).
Covers the First Battle of Smolensk at battalion level. The full campaign map represents an area of 200x300 km , divided in hexes measuring 1 km . A turn represents two hours of daytime, or four hours of night. The hex size and turn length were generally maintained in the subsequent games. StrategyPage, a publication whose chief editor is Jim Dunnigan, the author of the 1976 board wargame "Panzergruppe Guderian", on which the computer game is loosely based, also reviewed the computer game, and gave "Smolensk '41" three different ratings, depending on the audience: two stars for the general gaming public due to excessive complexity (but noting that HPS Simulations did not market the game to this public), "four plus" stars for the that enjoys fine-grained control over battalion-level units in a game of this scale, but reducing this score for the user interested in more realistic command structures to four stars for the small scenarios, and just three for the grand campaign. The Wargamer review appreciated the scale of the game, and its interface, which brought HPS games on par with those from its TalonSoft competitor "Campaign" series.
The editors of "Computer Games Strategy Plus" named "Smolensk '41" the best wargame of 1999, and called it "a solid and playable game that offers a lot of value for wargamers."
"Normandy '44" (2000).
Covers the initial landings and subsequent breakthrough of Operation Overlord, and consequently employs a smaller scale (down to company level). The Wargamer gave it a positive review, but remarked that the Germans' ability to significantly delay the Allies in the bocage could only be reproduced by using the alternate engagement rules, which prohibit advance and assault on the same phase/turn.
The editors of "Computer Games Magazine" nominated "Normandy '44" for their 2000 "Wargame of the Year" award.
"Kharkov '42" (2000).
Covers the Soviet spring offensive and the German counter-attack, Operation Frederick, during the Second Battle of Kharkov. The Wargamer review (by a former HPS collaborator) dissected the level of historical realism in the simulation, instead of the game mechanics, which were largely unchanged from the previous iterations. The review found that the terrain behind the front lines felt "barren" because non-fire support units were abstracted away, which could affect the results of a breakthrough, but that overall, the game was an " wargame", "not too challenging, with a solid, but narrowly focused research base", "a kind of interactive historical novel whose fictions are based on fact". (On a side note, the reviewer noticed that the historical order of battle, taken from the publications of David Glantz, had to be adjusted by the game designers, because some duplications were found).
"Tobruk '41" (2001).
Covers the sequence of battles in North Africa starting with Rommel's initial breakthrough, ending with Operation Crusader. Unlike the previous games in the series, no grand campaign is included in this game, but a series of 7 longer scenarios, in addition to 50 smaller ones. A few scenarios feature explicit supply depots with limited stocks (which can be captured, as well) to more closely simulate the limited nature of resources available in desert warfare. Units can also be broken down to company-level in this game.
"Bulge '44" (2001).
Covers the Battle of the Bulge, which took place in the Ardennes. A Computer Games Magazine review declared it "the best Panzer Campaigns game yet", praising the combination of unit size, map size, and turn length that feel "just right". Four grand campaigns (150 turns) are included: one historical, and three alternate. The game won "Wargame of the Year" from the magazine, beating by Shrapnel Games, and , another John Tiller/HPS Simulations production. The game received a more reserved reception from The Wargamer. Its reviewer observed that even the optional surrender rules failed to produce the expected numbers of prisoners unless the unit was surrounded, (a status meaning it had lost combat cohesiveness), and assaulted. The interface was also criticized for lack of keyboard shortcuts, for modal windows that cover a large portion of the map, and for lack of a pinnable mini-map (jump map). The AI was praised however for managing an occasional surprise.
"Korsun '44" (2002).
Captures several Soviet offensives in late 1943 and early 1944 along the Dnieper River: the Kanev airborne assault , the offensive near Kirovograd , and the Battle of the Korsun–Cherkassy Pocket proper . The Wargamer reviewer was impressed by campaign notes that ship with the game, which contain "a detailed description of how unit ratings were computed and a lengthy bibliography." Several scenarios, which have fairly lopsided orders of battle, are balanced by requiring the attacker to inflict difficult to achieve kill-ratios. The review was critical of some aspects of the interface, in particular the inability to quickly skip over less relevant events during the AI turn, while not missing important events.
"Kursk '43" (2002).
Attempts to portray the Battle of Kursk. Some of the criticism levied at the user interface of the series has been addressed in this game: a fast AI option, avoiding some dialog boxes, and locating units by coordinates. The Wargamer review also analyzed the historical accuracy of the game. Although there are some discrepancies between various historian's accounts of this battle (in particular with respect to losses, see the article on the battle for details), the book of David Glantz and Jonathan House was taken as reference. The reviewer analyzed several scenarios in-detail, and concluded that "with the exception of overrating Soviet air power early in the battle, this game is extremely accurate." Rating the level of fun in the game, he found that "scenarios with fewer than 40 turns and with relatively small numbers of units are engrossing", and suggested that players only try the larger ones afterwards. This recommendation was echoed by Computer Games Magazine. PC Gamer similarly found that "firmly grounded on prodigious research, this game is surely the definitive Kursk simulation, and one of the finest titles this prolific designer has ever given us."
"Sicily '43" (2003).
Covers Operation Husky on a map 350 by 190 km. A new quick play feature was added for the AI, which resolves roughly ten times faster than in previous games.
"Rzhev '42" (2003).
Portrays the less known failure of Operation Mars. A storm condition was added to this game, which is intended to simulate the severe weather in which part of the operation was fought. It halves unit attack and move values, and reduces visibility to one hex. Unlike previous games, which contained historical overviews written by non-professionals, "Rzhev '42" comes with a write-up from David Glantz. The usual designer notes, which discuss order of battle balancing, as well achieving historical results, and an extensive bibliography round up the documentation.
"Market-Garden '44" (2003).
Attempts to simulate the combined airborne and ground assaults from Operation Market Garden, as well as the German counter-attacks. The Wargamer review focused mostly on the mechanics of gameplay.
"El Alamein '42" (2004).
Starts with the May 1942 Axis envelopment of the line at Gazala, continues with the capture of Tobruk, the battles on the road to El Alamein, and concludes with the Second Battle of El Alamein. In order to provide some historical accuracy, when the fog of war is enabled in this game, the player's units can be damaged by their own minefields. ("There's no such thing as a friendly minefield".) The superior mobility and initiative of Afrika Korps, like the ability to form "ad hoc" kampfgruppen, is emulated by giving German units a superior command radius, which positively affects morale and supply.
"France '40" (2005).
Covers the German invasion of France and the Low Countries in May and June of 1940.
"Moscow '41" (2005).
Covers Operation Typhoon, the German attempt to capture Moscow in October 1941 during Operation Barbarossa.
"Salerno '43" (2005).
Covers the Allied invasion of Salerno and Anzio in 1943 and 1944, as well as the German invasion of Crete in 1941 as a bonus.
"Stalingrad '42" (2006).
Covers the Battle of Stalingrad, the German attempt to capture and hold the Soviet city of Stalingrad in 1942.
Reviewed by Armchair General.
"Minsk '44" (2006).
Covers Operation Bagration, the Soviet offensive against the German Army Group Centre in mid-1944.
"Budapest '45" (2007).
Covers the Soviet Budapest Offensive in 1945 and Operation Konrad, the German attempt to relieve the defenders of the city.
"Kharkov '43" (2010).
Covers both Operation Star and Operation Gallop with the objective of completely destroying German forces in southern Russia and the Ukraine taking place 1,000 km west of Stalingrad. Containing 30 smaller scenarios with an average of 25 turns and 8 campaigns ranging from 57 turns to as high as 179 turns. Other features included are order of battle and scenario editors for custom games, a sub-map feature which allows players to cut a piece of the main map to create a custom scenario with and designer notes with an accompanying designer write-up. Armchair General praised the graphics, sound effects, and challenging AI, but found the 3D view uninspiring and the turns too lengthy. Armchair General ultimately gave it a score a 94%.
"Sealion '40" (2010).
Covers the hypothetical Operation Sealion, the planned German invasion of the United Kingdom in 1940.
"Mius '43" (2011).
Covers fighting in the Mius-Front in July 1943. This is a smaller-scale title that is available for free as an introduction to the Panzer Campaigns series.
"Tunisia '43" (2011).
Coves the Axis campaign in Tunisia in 1942 and 1943 aimed at halting the Allied advances in North Africa following Operation Torch.
"Moscow '42" (2012).
Covers the Soviet winter counter-offensive of 1942 that followed the failed German attempt to take Moscow in Operation Typhoon.
"Japan '45" (2019).
Covers the hypothetical Operation Olympic, the first part of the planned Allied invasion of Japan that encompassed the invasion of Kyushu and nearby small islands in November 1945
"Japan '46" (2019).
Covers the hypothetical Operation Coronet, the second part of the planned Allied invasion of Japan that encompassed the invasion of Tokyo and the Kanto Plain in March 1946.
"Scheldt '44" (2020).
Covers the Battle of the Scheldt in 1944, the Allied campaign aimed at opening the port of Antwerp to shipping by pushing the German forces out of the Scheldt estuary.


Justin Jose

Justin Jose () (born 1980) is an Indian Sound Engineer and Sound Mixer. He has worked in Hindi, Bengali, Tamil, Telugu, Marathi, Gujarati, Punjabi, Ladakhi, Latvian, Arab, Urdu and Malayalam films.
Early Life & Education.
Justin Jose was born in Thrissur, Kerala. He graduated in Economics from St.Thomas College, Thrissur. He then received his diploma in Audio Recording from Chetana Sound Studio, Thrissur. He had also secured 4th grade of electronic keyboard from Trinity College of Music, London. He started his career from music industry.
Career.
He moved to Mumbai in 2003 and joined QLabs as ADR Recordist under the ace sound engineer Deepan Chatterjee. In 2005 he became premix engineer for feature films and by 2008 he became independent re-recording mixer. Since then he is working as re-recording mixer for Indian Movies and also on regional language version mix of Hollywood movies totaling to more than 250 films. In 2012 he joined FutureWorks Studio, Mumbai and now he is handling Dolby Atmos surround mix for movies. He mixed Madras Cafe which is the first movie in India to be mixed in native Dolby Atmos. He won National Film Award for the Best Re-recordist for the movie Bajirao Mastani in 2015 and for "Walking With The Wind" in 2017. His notable works include ', "Padmaavat", "Bajirao Mastani" and '.
Accolades.
National Film Awards
Other Awards
Nominations
Honours & Recognitions


Audio game

An audio game is an electronic game played on a device such as a personal computer. It is similar to a video game save that there is audible and tactile feedback but not visual.
Audio games originally started out as 'blind accessible'-games and were developed mostly by amateurs and blind programmers.
But more and more people are showing interest in audio games, ranging from sound artists, game accessibility researchers, mobile game developers and mainstream video gamers. Most audio games run on a personal computer platform, although there are a few audio games for handhelds and video game consoles. Audio games feature the same variety of genres as video games, such as adventure games, racing games, etc.
Audio game history.
The term "electronic game" is commonly understood as a synonym for the narrower concept of the "video game." This is understandable as both electronic games and video games have developed in parallel and the game market has always had a strong bias toward the visual. The first electronic game, in fact, is often cited to be "Cathode-Ray Tube Amusement Device" (1947) a decidedly visual game. Despite the difficulties in creating a visual component to early electronic games imposed by crude graphics, small view-screens, and power consumption, video games remained the primary focus of the early electronic game market.
Arcade and one-off handheld audio gamesthe early years.
Atari released the first audio game, "Touch Me", in 1974. Housed in an arcade cabinet, "Touch Me" featured a series of lights which would flash with an accompanying tone. The player would reproduce the sequence by pressing a corresponding sequence of buttons and then the game would add another light/sound to the end of the growing sequence to continually test the player's eidetic memory in a Pelmanism-style format. Although the game featured both a visual and an auditory component, the disconnect between the two enabled both the seeing and the visually impaired to equally enjoy the game.
Based on the popularity of "Touch Me", in 1978 Milton Bradley Company released a handheld audio game entitled "Simon" at Studio 54 in New York City. Whereas "Touch Me" had been in competition with other visual-centric video games and consequently remained only a minor success, the allure of a personal electronic game allowed "Simon" to capture a much greater share of the market. "Simon" became an immediate success eventually becoming a pop culture symbol of the 1980s.
In the decades following the release of "Simon", numerous clones and variations were produced including "Merlin" among others. Beginning in 1996, Milton Bradley and a number of other producers released the handheld "Bop It" which featured a similar concept of a growing series of commands designed to test eidetic memory. Other related games soon followed including "Bop It Extreme" (1998), "Bop It-Extreme 2" (2002–2003), "Zing-It", "Top-It", and "Loopz" (2010)
TTS software and the PCthe second wave.
Before graphical operating systems like Windows, most home computers used text-based operating systems such as DOS. Being text-based meant that they were relatively accessible to visually impaired users, requiring only the additional use of text-to-speech (TTS) software. For the same reason, following the development of TTS software, text-based games such as early text-only works of interactive fiction were also equally accessible to users with or without a visual impairment. Since the availability of such software was not commonly accessible until the inclusion of the MacInTalk program on Apple Computers in 1984, the library of games which became accessible to the vision impaired spanned everything from the earliest text adventure, "Colossal Cave Adventure" (1976), to the comparatively advanced works of interactive fiction which had developed in the subsequent 8 years. Although the popularity of this genre has waned in the general market as video-centric games became the dominant form of electronic game, this library is still growing with the freeware development by devoted enthusiasts of new interactive fiction titles each year.
Accessibility for the visually impaired began to change, some time prior to the advent of graphical operating systems as computers became powerful enough to support more video-centric games. This created a gap between electronic games for the seeing and games for the blind — a gap that has by now grown substantially. Due to a strong market bias in favor of the seeing, electronic games were primarily developed for this demographic. While seeing gamers could venture into 3D gaming worlds in such video game titles as "Myst", "Final Fantasy" and "Doom", blind gamers were relegated to playing more mundane games such as "Blackjack", or "Battleship".
As video games flourished and became increasingly common, however, amateur game designers began to adapt video games for the blind via sound. In time audio game programmers began to develop audio-only games, based to a smaller and smaller degree on existing video game ideas and instead focusing on the possibilities of game immersion and feedback with sound. Specifically, three-dimensional positional audio (binaural recording) has been developed since 2000 and now figures prominently in, for example, such audio games as "BBBeat". To effect this, a sound is played in the left, center, or right channel to indicate an object's position in a virtual gaming environment. Generally, this involves stereo panning of various sound effects, many of which are looped to serve as indicators of hazards or objects with which the user can interact. Volume also plays a major role in 3D audio games primarily to indicate an object's proximity with reference to the user. The pitch of a sound is often varied to convey other information about the object it symbolizes. Voice talent is used to indicate menu items rather than text. These parameters have allowed for the creation of, among other genres, side scrollers, 3D action adventures, shooters, and arcade style games.
The website Audiogames.net provides a list of audio games and a forum for the community of audio game developers and gamers. Many of the listed games contain some primitive graphics as to make audio games not only accessible to blind and visually impaired people but also to gamers with vision, who may be unexperienced with TTS, auditory menus and typical keyboard mappings. Examples include Shades of Doom and the CURAT Sonification game.
Console audio games and the modern era.
Most audio games are now developed by several small companies (consisting of only a team of one to four people). The main audience remains primarily visually impaired users, however the game market at large is gradually taking more notice of audio games as well due to the issue of game accessibility. Commercial interest in audio games has steadily grown and as a result artists and students have created a number of experimental freeware PC audio games to explore the possibilities and limitations of this gaming form.
In the field of console-gaming, there has been very little in the way of audio-games. One notable exception has been the innovative incorporation of strong audio elements in several of the games produced by the Japanese video game company, Warp. Warp was founded by musician Kenji Eno and consisted of a five-man team including first-time designer Fumito Ueda. In 1997, Warp developed a game called "Real Sound" for the Sega Saturn which was later ported to Dreamcast in 1999 and renamed . This game featured no visuals at all and was entirely dependent upon sound.
Discussing "Real Sound"'s production, Eno has stated that
Following the release of "Real Sound", Warp again made use of a novel employment of audio elements in the Saturn game "Enemy Zero" (1997), in which the enemies are invisible and can only be detected through auditory clues. Audio-specific elements used in gameplay have been recognized in Warp's "D2" (2000).
Nintendo, as part of its shift to alternative gameplay forms, has shown recent interest in audio games through its own development teams. In July 2006, Nintendo released a collection of audio games called "Soundvoyager" as the newest member of its spare "Digiluxe" series. The Digiluxe series for Game Boy Advance consists of 7 games (in 2 series) that are characterized by simple yet compelling gameplay, minimal graphics, and the emphasis, in such titles as "Soundvoyager" and "Dotstream", on music. "Soundvoyager" contains 7 audio games ("Sound Slalom", "Sound Picker", "Sound Drive", "Sound Cock", "Sound Chase", "Sound Catcher", and "Sound Cannon"). The Digiluxe series has been available in Japan since July 2006.
In 2008, MIT students collaborated with the government of Singapore and a professor at the National University of Singapore to create "AudiOdyssey", a game which allows both blind and sighted gamers to play together.
Apple's iPhone platform has become home to a number of audio games, including "Papa Sangre".
TTS-enabling video games.
The rise of text-to-speech (TTS) software and steady improvements in the field have allowed full audio-conversion of traditionally video-based games. Such games were intended for use by and marketed to the seeing, however they do not actually rest primarily on the visual aspects of the game and so members of the audio game community have been able to convert them to audio games by using them in conjunction with TTS software. While this was originally only available for strictly text-based games like text adventures and MUDs, advances in TTS software have led to increased functionality with a diverse array of software types beyond text-only media allowing other works of interactive fiction as well as various simulator games to be enjoyed in a strictly audio environment.
Examples of such games include:


Yangjiang Group

The Yangjiang Group is a collective artist group founded in 2002 by Zheng Guogu (b.1970), Chen Zaiyan (b.1971), and Sun Qinglin (b.1974). The group's name takes after their hometown in Yangjiang, Guangdong Province. The Yangjiang Group's works have been exhibited in Europe and Asia. Their works have been commented to show a strong attachment to a sense of place in their hometown.
History.
The collective method of work follows other Chinese art groups such as the Big Tail Elephants. The Yangjiang Group's works are noted for their apolitical content, non-representational method of expression, and unabashed refutation and criticism of political analysis of Chinese contemporary art. Xiao Fengxia attributed the aniconism of their works to a degree of political autonomy from Beijing in Guangdong Province: "Far away from the hierarchal chronotope of Beijing, southern China drifts away from the center…the local people's innovative spirit, lifestyles, and political feelings are unique, and do not completely follow Beijing…Southern China's economic boom. especially in Hong Kong, Shenzhen, and Guangzhou in the Pearl River Delta Region...led to unprecedented growth in prosperity that overturned orthodox Socialist thought." The Yangjiang Group work primarily with calligraphy, but also other mediums such as video and wax sculpture. The group frequently combines various mediums that engages many different senses, and with special attention to the relationship among the work of art, the audience, and the gallery space. Their works are often done impromptu to erase the distance between a work of art and the lived experience, where "life itself becomes an integral part of their art."
The Yangjiang Group draws from classical Chinese practice of experiencing works of art where audience participation is essential, as noted by Lisa Catt. The group also addresses the issue of commoditization of art that enables a work of art to take on a new meaning, and lose its ability to dictate culture as a result. The group continue to work in their hometown in Yangjiang, where they promote the local art scenes in southern China to counterbalance the financial potential of contemporary art from Beijing and Shanghai.
Works.
Wax Series.
Waterfall (2002), Pond (2003) and Garden of Pine – Also Fiercer than Tiger II (2010).
Made almost entirely from wax, Zheng Guogu explained that the dripping movement of wax shows the infinite dimension of physical objects. In addition, the work calls into question the comparative meaning of wax in Chinese and Western culture. The work combines calligraphy written by ordinary people to show the kinetic nature of the art of calligraphy.
Debuted in "Yangjiang Group: Actions for Tomorrow".
Yangjiang Group: Actions for Tomorrow was a show in 4A Centre for Contemporary Asian Art in Chinatown, Sydney over the period of the 2015 Chinese New Year. Reflecting on the exhibition's content, curator of the Centre Melissa Chiu said, "Guangzhou has neither the political centrality of Beijing nor the economic history of Shanghai. Guangzhou's location is determined solely by opportunity for economic prosperity."
"Drinking Tea at Work"
Participants of the exhibit are invited to sit down in the space to perform the tea ceremony and savor tea. Debuted in Yangjiang Group: Actions for Tomorrow.
"Calligraphy After the Meal"
A performance by the artists that utilizes a large sheet spread on the floor. Artists will write a long calligraphy inscription in turn. During the performance, the artists engage in conversation that is aestheticized to become part of the "artwork." Debuted in Yangjiang Group: Actions for Tomorrow.
"Shang-ti is Dead! Yet, the Yuan is Very Much Alive!"
Shang-ti is the Chinese concept of a divine being, which differs from the Western concept of God. The work has been interpreted as revealing the contradiction between the espousal of Socialist values and economic pragmatism in contemporary China. The Yangjiang Group has been vocal that they do not agree with this reading of the work. The Yangjiang Group explains:Chinese property buyers poured a large amount of money into Sydney...new changes lead to such conflicts being expressed in this [Australian] society“中国的房地产商带来了大量的资金，涌进了悉尼……新的变化让这种冲突在这个社会里边呈现出来。”


Klaus Teuber

Klaus Teuber (born June 25, 1952) is a German former dental technician and designer of board games.
Career.
Teuber won the Spiel des Jahres ("Game of the Year") award four times: for "The Settlers of Catan", "Barbarossa", "Drunter und Drüber" and "Adel Verpflichtet". Teuber's "By Hook or Crook", published by Avalon Hill in 1991, was an early import of a German-style game into the American market.
Personal life.
Teuber retired from his profession as a dental technician to become a full-time game designer in 1999. , he lives in Darmstadt with his wife Claudia. They have two sons, Guido and Benny.


Phoebe Philo

Phoebe Philo OBE (born 1 January 1973) is a British fashion designer. She was the creative director of Céline from 2008 to 2018 and creative director of Chloé from 2001 to 2006.
Early life.
Philo was born in Paris to British parents working there. Her father, Richard, is a surveyor and her mother, Celia, is an art dealer and graphic artist who had a hand in creating David Bowie's "Aladdin Sane" album cover. The family returned to Britain when she was two years old, and she was raised in Harrow, London. In 1987, at the age of 14, she began customizing her clothes after receiving a sewing machine as a birthday present from her parents.
She studied at Central Saint Martins College of Art and Design in London, graduating in 1996. She graduated showing a final student collection that The Guardian would later describe as having a "Latino influence and huge gold jewellery". She quickly joined Chloé as Stella McCartney's first assistant for ready-to-wear collection in Paris.
Career.
Philo began working for Chloé in 1997 as Stella McCartney's design assistant, succeeding her as creative director in 2001.
In 2006 Philo left Chloé. During this break from the industry, she moved back to London to be with her family and had her second child. In 2008, LVMH offered her a job as creative director and board member of the French Maison Céline, where she set up her studio for the company and continued to work in London whilst showing in Paris. She agreed, and presented her debut collection the next year to much critical acclaim.
In 2017 after 10 years of working at Céline and much speculation in the media it was announced that Philo would step down as the creative director of Céline after the Pre-Fall 2018 collection. She has not announced what her plans are for the future.
Awards.
Philo was named by Time Magazine as amongst the world's 100 most influential people in 2014.
She was appointed Officer of the Order of the British Empire (OBE) in the 2014 New Year Honours for services to fashion.
Personal life.
Philo married English gallerist and art dealer Max Wigram (b. 1966) in July 2004. They live in London and have three children.


Agnieszka Haupe-Kalka

Agnieszka Haupe-Kalka (born 13 June 1970 in Zielona Góra) is a Polish fairy tale poet, games designer and translator.
Biography.
She is the granddaughter of the resistance fighters of "AK Jemioły" and Auschwitz/Buchenwald survivor Maria Haupe (alias "Black Lady") and Wacław Haupe (alias "Młody szofer").
As a member of the Literary Society "Die Huelle" she was a co-organizer of the festival Grochowice '93 it the tenth anniversary of the death of Edward Stachura. In 1994 the Literary Society was awarded the prize of the Mayor of Zielona Góra.
1996 and 1998 she was a participant in the German-Polish poets steamer, where she met the German singer-songwriter Dieter Kalka and married on 12 September 1998 in Frankfurt (Oder) ("Poets wedding").
With Jolanta Pytel, Katarzyna Jarosz-Rabiej and Władysław Klępka she founded in 1995 the "Association of the still living poets" in Zielona Góra and co-organized the "Uniwersytet poezji" (1995–1998), a participant in the German-Polish poetry festival "word lust" in Lublin in 1997 and worked on the publication of the anthology "/Lubelska winda ". With Dieter Kalka they founded the project: "Children invent tales", took part in the radio drama festival in Rust (Austria) with the radio play "mirror images of two languages" part. Prose and poetry in the German language have been published in Ostragehege Nos. 9 and on Portal Poland.
Agnieszka Haupe developed board and other games and participated in the games fair in Göttingen. From 1996 to 2005 she lived in Leipzig/Germany and Zielona Góra/Poland, studied 2005/2006 German studies at the University of Zielona Góra and has lived in County Kerry/Ireland since of 2006. Her texts have been translated into English and German.


Hilary Shepard

Hilary Shepard (born Hilary Shapiro on December 10, 1959), alternately billed as Hilary Shepard-Turner, is an American actress and singer.
Biography.
Shepard was born in New York City, New York. In the mid 1980s, Shepard was a co-lead singer and percussionist in the short-lived all-female group American Girls. The band then released one album, in 1986 "American Girls" on I.R.S. Records.
When that group ended, she moved into acting, appearing in numerous motion picture and television series. Shepard may be best known for her recurring role as the evil pirate queen, Divatox, in the "Power Rangers" franchise, starting with "". During the first half of the "Power Rangers Turbo" season, Shepard was replaced by actress Carol Hoyt in the role of Divatox while she was on maternity leave.
She portrayed two characters on "": the Benzite ensign Hoya in “” and the genetically enhanced Lauren in "Statistical Probabilities" and "".
She played Zena in the film "Scanner Cop".
In 1992, she guest-starred in two episodes of "Full House"'s sixth season as KFLH D.J. Julie in "Radio Days" and "Lovers And Other Tanners".
Shepard and actress Daryl Hannah co-created two board games, "Love It or Hate It" and "LIEbrary," the latter having been previewed by Hannah on "The Ellen DeGeneres Show" in December 2005.
In 2017, she was cast in the short movie "The Order", alongside other former Power Rangers cast members.


Sam Barlow (game designer)

Sam Barlow is a British video game designer, best known as the writer and designer of "Her Story" and the two British "Silent Hill" games, ' and '. He previously worked as a game director at Climax Studios, before leaving in 2014 to become an indie game developer. He published his first independent game, "Her Story", in June 2015.
Interactive fiction.
Barlow was active in the interactive fiction scene of the late 1990s, most notably releasing the game "Aisle" in 1999. It won the XYZZY Award for Best Use of Medium. Like his later "Silent Hill" games, Aisle features a psychologically damaged viewpoint character, a contemporary setting and a positive meaning at its heart.
In March 2016, during the Game Developers Conference, Barlow announced he had joined the interactive media firm Interlude, later rebranded as Eko, to help them develop an interactive media reboot of the 1983 film "WarGames". The work "#WarGames" launched in early 2018.
Influences.
Barlow frequently cites novelists and film directors as having influenced his work. He claims that Hitchcock, Luis Buñuel and J.G. Ballard influenced his work on '. Both "Silent Hill" titles reference Shakespeare (' features a performance of "The Tempest", whilst "Silent Hill: Shattered Memories" has multiple references to "Twelfth Night"). He has also been inspired by David Lynch, Mark Z. Danielewski, Paul Auster, Shirley Jackson, "The Exorcist" and Gene Wolfe. Consistently his most frequently cited influence is Hitchcock, for example: "I bored everyone with Hitchcock and talking about his techniques and his ideas of suspense" and "Hitchcock said that all horror goes back to childhood, that's why it's a universal thing -- it's a fundamental". Barlow cites Cronenberg’s "The Fly" and Paul Schrader’s "Cat People" as showing how best to reboot an existing story.
Video games.
Barlow has worked on at least nine titles since he joined the video game industry in 2002, seven of which have been released.


Jim Fixx

James Fuller Fixx (April 23, 1932 – July 20, 1984) was an American who wrote the 1977 best-selling book "The Complete Book of Running". He is credited with helping start America's fitness revolution by popularizing the sport of running and demonstrating the health benefits of regular jogging. He died of a heart attack while jogging at 52 years of age; his genetic predisposition for heart problems and other previous lifestyle factors may have caused his heart attack.
Background.
James Fuller Fixx was born on April 23, 1932, in New York City. He graduated from Trinity School in New York and Oberlin College in Ohio. His father, Calvin Fixx, was an editor at "Time" who worked with Robert Cantwell and Whittaker Chambers.
Career.
Fixx was a member of the high-IQ club, Mensa, and published three collections of puzzles: "Games for the Super-Intelligent", "More Games for the Super-Intelligent", and "Solve It!" The back flap of his first book says: "... He spent his time running on the roads and trails near his home, training for the Boston Marathon."
Fixx started running in 1967 at age 35. He weighed 214 pounds (97 kg) and smoked two packs of cigarettes per day. Ten years later, when his book, "The Complete Book of Running" (which spent 11 weeks at No. 1 on "The New York Times" Best Seller list) was published, he was 60 pounds (27 kg) lighter and smoke-free. In his books and on television talk shows, he extolled the benefits of physical exercise and how it considerably increased the average life expectancy.
The cover of his book "The Complete Book of Running" featured Fixx's muscular legs against a red cover. The book sold over a million copies. In 1980 Fixx wrote a follow-up book titled "Jim Fixx's Second Book of Running: The Companion Volume to The Complete Book of Running". In 1982 Fixx published "Jackpot!", the story of what happened after the publication of "The Complete Book of Running" when he experienced the "Great American Fame Machine", becoming richer and more celebrated than he could have imagined.
Death.
Fixx died on July 20, 1984 at age 52 of a fulminant heart attack, during his daily run on Vermont Route 15 in Hardwick. The autopsy, conducted by Vermont's chief medical examiner, Dr. Eleanor McQuillen, revealed that atherosclerosis had blocked one coronary artery 95%, a second 85%, and a third 70%. (His father Calvin Fixx had died of a second heart attack at age 43.)
In 1986 exercise physiologist Kenneth Cooper published an inventory of the risk factors that might have contributed to Fixx's death. Granted access to his medical records and autopsy, and after interviewing his friends and family, Cooper concluded that Fixx was genetically predisposed—his father died of a heart attack at 43 after a previous one at 35, and Fixx himself had a congenitally enlarged heart—and had an unhealthy life: Fixx was a heavy smoker before beginning running at age 36, had a stressful occupation, had undergone a second divorce, and his weight before he took up running had ballooned to 214 pounds (97 kg). Medical opinion continues to uphold the link between moderate exercise and longevity.
Legacy.
"Maximum Sports Performance", published posthumously, discusses the physical and psychological benefits of running and other sports, including increased self-esteem, acquiring a "high" from running, and being able to cope better with pressure and tension.
A carved granite monument—a book with an inscription to Jim Fixx from the people of Northeast Scotland—now stands in Hardwick Memorial Park in Hardwick, Vermont.


Adrian Willaert

Adrian Willaert ( – 7 December 1562) was a Netherlandish composer of the Renaissance and founder of the Venetian School.
 He was one of the most representative members of the generation of northern composers who moved to Italy and transplanted the polyphonic Franco-Flemish style there.
Life.
He was born at Rumbeke near Roeselare. According to his student, the renowned 16th century music theorist Gioseffo Zarlino, Willaert went to Paris first to study law, but instead decided to study music. In Paris he met Jean Mouton, the principal composer of the French royal chapel and stylistic compatriot of Josquin des Prez, and studied with him.
Sometime around 1515 Willaert first went to Rome. An anecdote survives that indicates the musical ability of the young composer: Willaert was surprised to discover the choir of the papal chapel singing one of his own compositions, most likely the six-part motet "Verbum bonum et suave", and even more surprised to learn that they thought it had been written by the much more famous composer Josquin. When he informed the singers of their error – that he was in fact the composer – they refused to sing it again. Indeed, Willaert's early style is very similar to that of Josquin, with smooth polyphony, balanced voices and frequent use of imitation or strict canon. Indeed, the early Willaert admired Josquin so much that he wrote a mass, Missa Mente Tota, in double canon throughout with two free voices, based upon a movement of a famous Josquin motet (Vultum tuum deprecabuntur).
In July 1515, Willaert entered the service of Cardinal Ippolito I d'Este of Ferrara. Ippolito was a traveler, and Willaert likely accompanied him to various places, including Hungary, where he likely resided from 1517 to 1519. When Ippolito died in 1520, Willaert entered the service of Duke Alfonso of Ferrara. In 1522 Willaert had a post at the court chapel of Duke Alfonso; he remained there until 1525, at which time records show he was in the employ of Ippolito II d'Este in Milan.
Willaert's most significant appointment, and one of the most significant in the musical history of the Renaissance, was his selection as "maestro di cappella" of St. Mark's at Venice. Music had languished there under his predecessor, Pietro de Fossis (1491–1525), but that was shortly to change. The Venetian Doge Andrea Gritti had a rather large hand in Willaert's appointment to the position of maestro di cappella at St. Mark's.
From his appointment in 1527 until his death in 1562, he retained the post at St. Mark's. Composers came from all over Europe to study with him, and his standards were high both for singing and composition. During his previous employment with the dukes of Ferrara, he had acquired numerous contacts and influential friends elsewhere in Europe, including the Sforza family in Milan; doubtless this assisted in the spread of his reputation, and the consequent importation of musicians from foreign countries into northern Italy. In Ferrarese court documents, Willaert is referred to as "Adriano Cantore". In addition to his output of sacred music as the director of St. Mark's, he wrote numerous madrigals, a secular form; he is considered a Flemish madrigal composer of the first rank.
Musical style and influence.
Willaert was one of the most versatile composers of the Renaissance, writing music in almost every extant style and form. In force of personality, and with his central position as "maestro di cappella" at St. Mark's, he became the most influential musician in Europe between the death of Josquin and the time of Palestrina.
Some of Willaert's motets and "chanzoni franciose a quarto sopra doi" (double canonic chansons) had been published as early as 1520 in Venice. Willaert owes much of his fame in sacred music to his motets.
According to Gioseffo Zarlino, writing later in the 16th century, Willaert was the inventor of the antiphonal style from which the polychoral style of the Venetian school evolved. As there were two choir lofts – one to each side of the main altar of St. Mark's, both provided with an organ —, Willaert divided the choral body into two sections, using them either antiphonally or simultaneously. De Rore, Zarlino, Andrea Gabrieli, Donato, and Croce, Willaert's successors, all cultivated this style. The tradition of writing that Willaert established during his time at St. Mark's was continued by other composers working there throughout the 17th century. He then composed and performed psalms and other works for two alternating choirs. This innovation met with instantaneous success and strongly influenced the development of the new method. In Venice, a compositional style, established by Willaert, for multiple choirs dominated. In 1550 he published "Salmi spezzati", antiphonal settings of the psalms, the first polychoral work of the Venetian school. Willaert's work in the religious genre established Flemish techniques firmly as an important part of the Venetian Style. While more recent research has shown that Willaert was not the first to use this antiphonal, or polychoral method — Dominique Phinot had employed it before Willaert, and Johannes Martini even used it in the late 15th century – Willaert's polychoral settings were the first to become famous and widely imitated.
With his contemporaries, Willaert developed the canzone (a form of polyphonic secular song) and ricercare, which were forerunners of modern instrumental forms. Willaert also arranged 22 four-part madrigals for voice and lute written by Verdelot. In an early 4-part vocal work, "Quid non-ebrietas?" (In some sources called the "Chromatic Duo") Willaert uses musica ficta around the circle of 5ths in one of the voices resulting in an augmented 7th in unison with the ending octave, an outstanding experiment with chromatic enharmonicism. Willaert was among the first to extensively use chromaticism in the madrigal. Looking forward, we are given an image of early word painting in his madrigal "Mentre che'l cor". Willaert, who was fond of the older compositional techniques such as the canon, often placed the melody in the tenor of his compositions, treating it as a cantus firmus. Willaert, with the help of De Rore, standardized a five-voice setting in madrigal composition. Willaert also pioneered a style that continued until the end of the madrigal period of reflecting the emotional qualities of the text and the meanings of important words as sharply and clearly as possible.
Willaert was no less distinguished as a teacher than as a composer. Among his disciples were Cipriano de Rore, his successor at St. Mark's; Costanzo Porta; the Ferrarese Francesco Viola; Gioseffo Zarlino; and Andrea Gabrieli. Another composer stylistically descended from Willaert was Lassus. These composers, except for Lassus, formed the core of what came to be known as the Venetian school, which was decisively influential on the stylistic change that marked the beginning of the Baroque era. Among Willaert's pupils in Venice, one of the most prominent was his fellow northerner Cipriano de Rore. The Venetian School flourished for the rest of the 16th century, and into the 17th, led by the Gabrielis and others. Willaert also probably influenced a young Palestrina. Willaert left a large number of compositions – 8 (or possibly 10) masses, over 50 hymns and psalms, over 150 motets, about 60 French chansons, over 70 Italian madrigals and 17 instrumental (ricercares).


Laurie Lewis

Laurie Lewis (born September 28, 1950 in Long Beach, California), is an American singer and bluegrass musician.
History.
Lewis fell in love with American folk music as a teenager, at the sunset of the 1960s folk revival. She says of the Berkeley Folk Festivals where she first caught the folk bug:
Oh, it was so exciting. Every night there were concerts, and during the day you'd be in a eucalyptus grove listening to someone making music with nothing between you and them. Every day I'd hear something new, Doc Watson or the Greenbriar Boys. Something about it just invited me to start playing it.
She began picking simple songs on the guitar, then the fiddle. After high school, she drifted away from the music, but always kept her fiddle under her bed, not knowing exactly why.
In her early 20s, she discovered the Bay Area bluegrass scene. To her, it was . .
like opening that door all over again. Here were all these people making music together, and I could immediately see myself as part of it. It woke up all that excitement I felt as a teenager, and I knew this was what I wanted to do with my life.
The bluegrass scene of Northern California was a powerful mix of the region's historic progressivism and ardent devotion to musical tradition. Nobody minded that young Laurie was a woman, a non-southerner, or a novice. They didn't mind if she didn't want to learn, chapter and verse, the gospels of Bill Monroe and Ralph Stanley. The scene gave her a rock-ribbed foundation in the rudiments of American roots music.
It really was a different deal coming to bluegrass in the San Francisco Bay area. There weren't a lot of cutting contests; it was all about making music together, a focus on interdependency rather than individual prowess.
In the early 1970s she played with The Phantoms of the Opry, a Bay Area bluegrass band that also included Pat Enright (later of the Nashville Bluegrass Band). When the Phantoms broke up she co-founded the Good Ol' Persons, an all-female bluegrass band with Kathy Kallick. In 1979 she founded the Grant Street String Band, also including Beth Weil, Tom Bekeny, Greg Townsend, and Steve Krouse, in which her own songwriting came to the forefront. In the late 1980s, she formed "Laurie Lewis and Grant Street". Since then, she has recorded solo and duo albums, usually accompanied by mandolin artist and singer, Tom Rozum. Nowadays, she often plays under different names with a fairly regular roster of musicians, calling themselves "Laurie Lewis and her Bluegrass Pals," "the Guest House Band;" in 2006, she renamed her group "Laurie Lewis and the Right Hands."
Many years ago, Lewis twice won California's Women's Fiddling championships. She is a versatile musician, having for many years played bass and sung with Dick Oxtot's Golden Age Jazz Band, as well as with the Bay Area band the Arkansas Sheiks. Lewis plays guitar and other string instruments. As a crossover artist, Lewis is comfortable with folk music and some pop music. She writes her own lyrics as well as composing the music. Her "Songbook" contains most of the songs she wrote in the twentieth century, as well as photographs from her from early life and the early days of her career. She has received a Grammy, and was previously nominated for that honor.
Recordings and performance.
Lewis, accompanied by Tom Rozum, has appeared at the Grand Ole Opry and several times with Garrison Keillor on "A Prairie Home Companion". She was the program director for a music camp on the Oregon Coast called Bluegrass at the Beach which she has done with Tom Rozum, from 1992 until 2005. She was the director of Bluegrass Week at the Augusta Heritage Arts Workshops for 10 years, from 1986 until 1996.
Lewis's songs have been recorded by others, including Kathy Mattea, and she has accompanied Holly Near. She has been invited to accompany many other artists, including Kato Sanden, Linda Ronstadt, and Ralph Stanley. Besides producing her own CDs, Lewis's skill in the recording studio has resulted in her being asked to produce recordings for a number of other artists, including Scott Nygaard, Erica Wheeler, The T Sisters, Alice Gerrard, American Nomad, Melody Walker and Jacob Groopman, Ray Bierl, and Diedre McCalla. She is also in demand as a teacher on fiddle and guitar, vocals, and songwriting.
Lewis has toured widely in many parts of the world, including most European countries, China, and Japan. When not on tour, she makes her home in Berkeley, California.
Personnel.
Laurie Lewis and the Right Hands comprises:
Chad Manning: fiddle
Patrick Sauber: banjo
Andrew Conklin: string bass


Seth Aaron Henderson

Seth Aaron Henderson (born July 11, 1971) is an American designer and reality television personality. He was the winner of the seventh season of "Project Runway" along with his model, Kristina Sajko.
"Project Runway".
Henderson also filled in for Tim Gunn as the head "casting judge" on Season 9 of "Project Runway".
Continuing his commitment to a sustainable future, Henderson's designs feature organic fabrics and those made from recyclable plastic bottles. His 2010 Portland Fashion Week collection was sponsored and inspired by Solar World, a manufacturer of solar panels in Oregon, Henderson's home state.
Henderson's show at Portland Fashion Week in October 2011 also featured sustainable fabrics. As of 2011, he was collaborating with the New Hampshire-based Earthtec clothing company to create a sustainable line of clothing to be sold by an "as yet unnamed national retail chain".
In 2012, Henderson custom-designed a dress for philosopher Martha Nussbaum, who was being honored by Felipe VI of Spain with the Prince of Asturias Award.
In 2013, Henderson became a contestant on "". In 2014, he was announced the winner of the season; he is the first to win both "Project Runway" and "Project Runway: All Stars". As part of his prize package, Henderson launched a collection on QVC later that year.
The two-time "Project Runway" winner is collaborating with Feetz to launch the world's first 3D printed designer shoe line at FashioNXT Week on October 13.
In 2019, Henderson competed in "Project Runway All Stars (season 7)", that consisted of previous winners only, but he was the second designer to be eliminated.
Personal life.
He lives in Idaho Falls, Idaho with his wife, Tina.


Christophe Boelinger

Christophe Boelinger is a prolific game designer and game artist from France. His most famous game is "Dungeon Twister". Boelinger is credited as the designer of over 60 board games or game items. He is known as a fan of theme, unique styles, and fantasy settings, stating that he always searches for the theme of a game first except for abstract games.
Games that Boelinger has designed or co-designed include the following:
In 1998, Boelinger won the Simulation Game award with his unreleased game Grande Surface in the Boulogne-Billancourt Game Designers Contest. He started designing games around the age of seven or eight with no intention of becoming a game designer. In Nice, France, Boelinger had a very large gaming club whose members encouraged him to get some his prototype games published. He has also run his own game publishing company with Ludically, although he had his games published by companies from several different countries. Some of his favorite games have included Go, "Dungeons & Dragons", and "". Boelinger is also known for being an active sportsman, dancer, and singer.


The Space Between (Majid Jordan album)

The Space Between is the second studio album by Canadian R&B duo Majid Jordan, released on October 27, 2017, by OVO Sound and Warner Bros. Records. It features guest appearances from OVO label-mates PartyNextDoor and Dvsn. The album's production was handled primarily by Majid Jordan, alongside Nineteen85 and Stargate.
Background.
On July 31, 2017, Majid Jordan took to Instagram to announce the album. The tracklist was revealed on October 17, 2017.
Singles.
The lead single, "Phases", was released on April 28, 2017. The second single, "One I Want", featuring OVO label-mate PartyNextDoor, was released on June 15, 2017. The third and final single, "My Imagination", featuring another OVO label-mate Dvsn, was released on September 28, 2017.
Promotion.
Tour.
On January 1, 2018, Majid Jordan announced an official headlining concert tour to further promote the album, titled "The Space Between Tour". The tour began on January 16, 2018 in Montreal, at M Telus.
Critical reception.
The album received positive reviews from critics. Briana Younger from Pitchfork said, "The writing is simple but effective; the productions are intricate but subtly propulsive. There is plenty that can stand alone here, but the album is best consumed all the way through, present and unhurried." Yasin Rahman from Exclaim stated, "The Space Between is enjoyable and interesting. Majid Jordan haven't strayed too far from their typical formula, but keep things interesting for their fans with introspective lyrics and new sounds."
Track listing.
Credits were adapted from Tidal.
Personnel.
Credits were adapted from Tidal.
Performers
Technical
Production
Managerial


Plexus International

Plexus International is a global arts collective that was founded in 1982 in New York City. The group was known for their collaborative, experimental art events as well as their theory of "artist in the first person" as a way to create co-authorship within the collective.
In 1985, the collective held a three-hour long show, titled "The Artificial Time of the Purgatorio Show '85 New York", at a Lower East Side squat, CUANDO. The collective's later work tended toward digital art productions, and the group eventually moved to be based in Italy.


Lifeline (video game)

Lifeline, released in Japan as , is a video game released by SCEI and Konami for the PlayStation 2.
Its defining aspect is that the player controls the game entirely by using a microphone to speak commands to on-screen characters. These commands are interpreted by the game via speech recognition. It is generally regarded by game reviewers as average, although its innovation has caused it to become a cult classic among fans.
The game sold well enough to become one of the PS2 The Best, with the lower-priced version released on September 25, 2003 in Japan. Both versions in Japan included the option to purchase the USB headset packaged with the game. The North American release did not offer this bundle.
Plot.
In the near future (year 2029), the player takes the role of a young man who has attended a Christmas party in a newly developed hotel set in a Space Station. As the festivities proceed, problems arise with monsters running rampant across the Space Station. Most of the inhabitants are slaughtered and devoured, with the player character trapped in the Space Station's main control center and separated from his girlfriend, Naomi (Sayaka in the Japanese version). Elsewhere in the monster-infested hotel, the cocktail waitress Rio Hohenheim (voiced by Mariko Suzuki in the Japanese version and Kristen Miller in the English version) has been locked in a detention cell for her own safety during the assault. The player character, referred to as the operator, has access to all Space Station mechanics via the control room and is able to observe everything in the area through cameras. Noticing Rio as she attempts to contact the monitor room, the operator establishes contact through her headset, and assists her through the perils of the station, as well as to discover the mystery behind the threat.
After fighting their way through monsters and getting past difficult puzzles, Rio and the operator learn that the monsters are not aliens as previously thought – they are humans mutated through an attempt to recreate the Philosopher's Stone. This recreation, rather than healing someone, cursed them to stay alive, often mutating them beyond recognition. They also learn that the stone needed to be created in a zero-gravity environment and that the station is on a collision course with the Earth to return the stone for use as a weapon. Along the way, Rio meets with her father, now a disillusioned, disembodied brain in a jar incapable of recognizing her. The operator meets his girlfriend, who is the only mutant to keep their humanity. Both die moments after meeting them. In the end, Rio and the operator destroy the lead monster, and she meets the operator in person. She uses the operator's console to set the space station self-destruct to destroy the stone. As they escape, they are injured by various explosions, but make it to an escape pod without losing their lives. As Rio thanks the operator, the pod starts a descent towards earth.
Gameplay.
"Lifeline"'s selling point is its advanced AI system and the ability to direct Rio through the game via the USB headset peripheral. The player is given no direct control over Rio during any course of the game. Instead, the headset's communication aspect is utilized to its fullest, by giving the player the ability to use scripted commands, outlined in the game's various menus. While holding the input mic button (the O button on the DualShock controller), such spoken commands include "hurry", "Stop", "dodge", and "turn left", which cause Rio to perform certain actions and progress throughout the game. Rio can understand up to 500 verbal commands.
The player is given access to various menus which provide inventory insertions, detailed maps, and commands to unlock various parts of the station. By using the menus available, the player directs Rio into combat, solving puzzles, and interactions with NPCs. When Rio encounters one of the game's many monsters, combat ensues and the commands are given to direct Rio which enemy to fire at, which specific body part to fire upon, and when and where to maneuver. Combat perspectives switch between first-person and that of the cameras set about the station, with the latter more suitable for encounters of numerous foes.
Additionally, plot interactions are followed through at the player's general discretion, with Rio inquiring which path of action to take. In common situations, the player can engage in normal "small talk" and friendly conversation with Rio, with the latter sometimes inquiring for it. However, the voice chat has been commonly attributed as the game's weak point, due to inaccurate actions taken when commands are given, and the basic sense of conversation and directions reduced to simple verbs and nouns, particularly when in the course of solving many of the game's puzzles. There are also a few "Easter egg" conversations, in which the player can command her to do less than mature things (e.g. to "Bark like a dog"); Rio will also ask about the player's girlfriend's name, and react with surprise if the player gives her own name, or the name of Rio's voice-actor.
Reception.
"Lifeline" received "mixed" reviews according to video game review aggregator Metacritic.
IGN noted that while the voice recognition system is "quite deep", the player "will need to practice enunciating regular words and learning the speed at which the game best responds", and "might spend five minutes trying to get the right word to simply inspect a worthless book."
In 2008, "Game Informer" listed "Lifeline" among the worst horror games of all time. In 2009, GamesRadar included it among the games "with untapped franchise potential", commenting: "While this frustrated many PS2 owners, it made others feel more attached to the characters. Improvements in headset and voice-recognition technology make a franchise more viable on today’s systems."


David Grellier

David Grellier (born July 2, 1979, Nantes, France)
is a French electronica musician and founder of the musical projects College (2005) and Valerie (2007). Under the stage name Mitch Silver, he is also a member of the electroclash band Sexy Sushi, active since 2004.
Musical projects.
College.
College, in Grellier's words, was an attempt "to synthesize into my music the emotions of my childhood" and was greatly influenced by American 1980s pop-culture, "80's soaps and an aesthetic which I particularly like: color, images, silvery films and the sun – images of Los Angeles, Chicago and all of the other cities that [...] continue to fascinate me" as well as artists including Daft Punk, Alan Braxe, Fred Falke, Lifelike, Jacques Lu Cont, Nicolas Makelberge, DJ Falcon, and John Carpenter.
In 2008, College released the album "Secret Diary", alongside the EP "Teenage Color". In 2011, the collective released a second album "Northern Council". The same year, the song "A Real Hero" College collaborated on with Canadian synth-pop group Electric Youth; was used in the soundtrack of the film "Drive" becoming a charting hit in France reaching #26. The following year the same song was included in the soundtrack of the film "Taken 2".
On March 13, 2013, College released a third full-length album, "Heritage", introducing a new series of live acts around the world accompanied by new visual content. French visual system artist Chromaphase cooperated for the Shanghai act.
On 10 October 2014, College announced their fourth EP "Save The Day". The title track features vocals by Nola Wren. The official music video for "Save The Day" debuted on 9 November 2014. Jay Buim directed the music video, which has been described as "dark." Both the EP and music video are said to have been inspired by stalker films of the late 1970s and early 1980s.
Valerie.
The Valerie Collective described as "responsible for some of the very best original electronic music now coming out of France", was created as a way to foster musical talent, by providing opportunities for collaboration among artists, also connecting them through blogs and other internet channels. The collective is characterised by a "retro-futurist", "romantic blend of 1980s inspired electro" or synthwave.
The musical cooperation was founded in Nantes in 2007 by David Grellier and his friends and colleagues. Various acts in Valerie include The Outrunners, Minitel Rose, Anoraak, Maethelvin, all from Nantes as well as Russ Chimes from London and DVAS from Toronto. Other artists included Keenhouse and Electric Youth. The hymn of the collective is "West Coast Valerie", a remix of the TV series "Côte Ouest".
Some of the works are released under the Valerie own record label, whereas others are released under various labels like FVTVR, Endless Summer Recordings, Believe Digital, Flexx, Free Danger. The label Endless Summer Recordings also prepared a compilation album in 2009 entitled "Valerie and Friends" joining a great number of artists in the project.
In 2019 Grellier, appeared in the documentary film "The Rise of the Synths", appearing alongside Maethelvin and various other composers from the Synthwave scene, including filmmaker John Carpenter who also narrated the film which explored the origins and growth of the synthwave genre.
Sexy Sushi.
Under the pseudonym stage name Mitch Silver, David Grellier is a member of Sexy Sushi, a French electroclash band he formed with vocalist Rebeka Warrior (real name Julia Lanoë). She is also part of the band Mansfield.TYA . Their first albums were released as burned CD-R by alternative distributors like Wonderground. An EP and an album were then released in 2009 by Scandale Records.


Yusuke Naora

 (born January 9, 1971) is a Japanese video game art director and character designer who worked for Square Enix (formerly Square). A former member of Toaplan, Naora served as the art director for several "Final Fantasy" and "Compilation of Final Fantasy VII" titles. He also served as the producer of the "Code Age" franchise. On October 1, 2016 he announced on Twitter that he had left the company, but would continue to contribute to Square Enix games as a freelancer.
Biography.
"Final Fantasy X".
Naora described the game as a "journey", and the Besaid Village from the game was heavily influenced by his trip to Bali, Indonesia, where he saw seaside towns, temples, people handing out tropical flowers, and distinctive dress.
"Code Age Commanders".
Naora worked on the game "Code Age Commanders" for three years, in cooperation with a group he assembled for this project called "War Head". The game was conceived to be a new game, unlike "Final Fantasy", and could be made into a game for the PlayStation 2, a manga, and a cell phone game. Some of the drawing is done by Naora himself. In order to simulate the nature of two handed combat, multiple buttons are utilized in combat. The game was designed to appeal to the western desire for game customization.
"The Last Remnant".
Naora took note of the popularity of "Fallout 3", and the growing differences between Japanese and Western RPGs. He then undertook to compare the two styles to appeal to both audiences. Naora developed the game "from the ground up" to appeal to both Japanese and Western audiences, and undertook extensive customer research into American gaming desires and tastes.
"Final Fantasy Type-0".
Naora was on a staff of three for Type-0 in 2006, but development began in 2008 due to ongoing work on "", and even then not fully until 2009 due to "The 3rd Birthday". Naora worked to create the backstory for the game, and the built up the fourteen characters life stories. He developed the country designs and the main game visuals. It was the longest he had ever worked on a single game.
"Crystal Conquest".
Naora was the art director for "Crystal Conquest".
"Final Fantasy X Remaster".
Naora outlined the focus of the "Final Fantasy X Remaster" from an artistic perspective as being color correction, fixing errors and increasing the games resolution.
"Final Fantasy XV".
Having worked on the game since its title was changed, Naora was very excited and nervous creating a trailer for the game to appear on copies of "Final Fantasy Type-0 HD".
Other Activities.
Naora delivered a lecture in 2015 at SMU Guildhall college entitled "The Visual Evolution of Final Fantasy" where he discussed the visual changes from creating with pixel graphics to 3D characters.


Vic Fleming

Victor Anson "Vic" Fleming (born December 26, 1951) is an American judge, law professor, and writer residing in Little Rock, Arkansas.
He was born in Jackson, Mississippi, and grew up in Greenville, Mississippi. He holds a B.A. in English from Davidson College and a J.D. from the University of Arkansas at Little Rock School of Law. He has taught at Bowen as an adjunct faculty member since 2003. He was elected as a district judge for the City of Little Rock in 1996, and reelected in 2000, 2004, 2008, 2012, and 2016 without opposition. The position is now officially known as State District Court Judge, Little Rock, Division 2.
Fleming has written two books of legal humor, including "Real Lawyers Do Change Their Briefs;" edited five other books, including three volumes of crossword puzzles; and published a collection of crossword puzzles entitled "I Swear".
His crossword puzzles have appeared in the "New York Times" and many other newspapers; several magazines, including "Games Magazine, The Rotarian", and "The American Lawyer"; and several books, including the "Simon & Schuster Mega Crossword" series and "Random House Casual Crosswords"; and in other venues. He appeared in the 2006 documentary "Wordplay," which also featured a song that he wrote. The New York Times crossword puzzle published on Friday, May 12, 2017, was collaboratively constructed by Fleming and former president Bill Clinton.


Ippolito Ciera

Ippolito Ciera (fl. 1546–1561) was an Italian composer of the Renaissance, active at Treviso and Venice.
Little is yet known about his life, for neither his biography nor his works have yet been the subject of a scholarly study. He was a Dominican friar and sang at Treviso Cathedral: the earliest documentary record of his life is a payment in 1546 for his salary there. In addition to singing, he taught music to the novices at the convent of San Nicolò. By 1561, he had become "maestro di cappella", the choirmaster, at the church of San Giovanni e Paolo in Venice, a much more prestigious position, and incidentally in one of the musical centers of Europe. He probably knew Adrian Willaert, the founder of the Venetian School, and may have studied with him, as did many of the musicians in Venice at that time; his veneration for the elder master is shown in a laudatory sonnet he wrote and set to music for him. It is No. 12 in his first book of madrigals.
All of Ciera's known music is vocal. His complete surviving output amounts to a single setting of the mass, four motets, and two published collections of madrigals. Dates of the works range from 1554 to 1561, with the two books of madrigals – the first for four voices, and the second for five – published in 1554 and 1561, respectively. Ciera's style in his sacred music (the motets and mass) was akin to that of the Netherlanders, with dense pervading imitation. His madrigals, on the other hand, use chordal harmonies, and occasionally what was referred to as the "note nere" technique ("black note" for "filled in notes" – i.e. quick note values, running passages, alternating with other textures). Some of the madrigals are antiphonal in places, reminiscent of the polychoral style of the Venetian School.


Stig Asmussen

Stig Asmussen is a video game developer, known for his work on the "God of War" series for Santa Monica Studio. He is currently working for Respawn Entertainment.
Biography.
Asmussen graduated from The Art Institute of Pittsburgh in 1998 with an Associate of Specialized Technology in Computer Animation Media. He is the son of Jes Asmussen, University Distinguished Professor and Executive Director of the Fraunhofer Center for Coatings and Laser Applications at Michigan State University.
Throughout the "God of War" series, he worked as a lead environment artist, art director, and was game director of "God of War III" after Cory Barlog's departure.
In an interview in April 2012, according to David Jaffe (creator of "God of War"), Asmussen was "doing cool stuff" at Santa Monica, and did not work on "".
In 2014 Asmussen left Santa Monica Studio. He has since joined Respawn Entertainment as a game director. On May 4, 2016 – "Star Wars" Day – Asmussen announced Respawn Entertainment was making a third-person "Star Wars" game. This was announced as "".


Cleve Chaffin

Cleve Chafin (March 4, 1885 – December 10, 1959) was a carnival musician who recorded old-time music during the 1920s.
Biography.
Chafin was from Wayne County, West Virginia, the son of Alice Adkins and Bob Chafin. He first recorded a solo session in Richmond, Indiana for Gennett Records on November 16, 1927, but the recordings were never issued. He may also have recorded a session for Paramount Records in 1928 with two men named Stevens and Bolar as Fruit Jar Guzzlers. In Chicago, Illinois, Chaffin recorded six songs with John & Emery McClung for Paramount Records. These records were released as by Cleve Chaffin and The McClung Brothers. Chaffin continued his professional music career, but never recorded again. He died on December 10, 1959 in Huntington, West Virginia at the age of 74.
Chafin died in Huntington, West Virginia at the age of 74. He was never married.
According to the Thirteenth Census of the United States in 1910, a Cleve Chafin, who was born in Kentucky and aged 22, was a prisoner at the city jail in Cabell County, West Virginia at the time of the census.