Paragraph 1: On December 13, 2009, Metro began operation on the Metro Silver Line. The line's length is , almost twice as long as the Metro Orange Line. Currently, the Silver Line is the longest line in the Go Metro Map. Unlike the  Metro Orange Line, the Metro Silver Line was not constructed in order to begin revenue operations. It is the second line in the Metro Liner system.  The line gets its color from the El Monte Busway route color. The bronze color was also considered, but then set aside for potential identification of a future rail line. Using grants and funds from the Metro ExpressLanes project, the line began operation between the Harbor Gateway Transit Center, Downtown Los Angeles,  and  El Monte Station.  The line does not run on dedicated busways like the Metro Orange Line. Instead, the line runs on Hov Lanes on the El Monte Busway and Harbor Transitway, which are on the I-10 and I-110 freeways. Some passengers consider the line like a Metro Express line, but it has a few differences. It is the only bus line in the Metro Bus & Rail system with a different and higher fare. The Silver Line's base fare is $2.45.  Since the line runs on the freeways, it has higher fares. The Metro Silver Line only has 9 busway stations  and the rest are street stops. The 9 busway stations are not completely dedicated for the Metro Silver Line. Instead, the stations are shared by other lines which also run on the busways. Other Metro Express lines and other municipal operator lines share the stations with the Metro Silver Line. None of the Silver Line stations have art nor Metro pylon signs. There are also no ticket vending machines at the 9 stations. The 10 street stops feature no special shelters nor any ticket vending machines. There are no off board payment amenities nor any all door boarding. The bus payment is made on board. The Metro Silver Line concept first began in its planning stages on August 1993. The purpose was to simply service on the Harbor Transitway and the El Monte Busway. It was supposed to replace several Metro Express Lines. The report did include the idea of operating the Dual Hub BRT with articulated buses, ticket vending machines at all stations and street stops. The street stops were supposed to be replaced by special shelters dedicated only for the Metro Silver Line. Due to lack of funds and operational grants, the line was never implemented in 1993. The Metro Silver Line concept was revived for discussion in 2008, and in 2009, the line was implemented.

Paragraph 2: Billed in the opening credits of their respective television episodes are: Lee Aaker (episode 8), Lola Albright (episode 4), John Alderson (episode 35), Leon Ames (episode 5), Lew Ayres (episode 20), Lynn Bari (episode 4), Ralph Bellamy (episode 19), William Bendix (episode 35), John Bentley (episode 30), Charles Bickford (episode 11), Janet Blair (episode 28), Ward Bond (episode 10), Neville Brand (episode 4), Walter Brennan (episode 8), Hillary Brooke (episode 22), Joe E. Brown (episode 12), Edgar Buchanan (episode 8), Rory Calhoun (episodes 2 and 14), Macdonald Carey (episodes 18 and 32), Jack Carson (episode 4), Joan Caulfield (episode 32), Gower Champion (episode 27), Marge Champion (episode 27), Fred Clark (episode 5), Constance Cummings (episode 33), Linda Darnell (episode 30), Laraine Day (episodes 7 and 17), Yvonne deCarlo (episode 14), Brandon deWilde (episode 29), Bobby Driscoll (episode 2), James Dunn (episode 18), Leo Durocher (episode 17), Robert Easton (episode 15),  Buddy Ebsen (episode 28), Marilyn Erskine (episode 21), Frank Fay (episode 9), Errol Flynn (episode 22), Scott Forbes (episode 30), Wallace Ford (episode 20), Sally Forrest (episode 5), Rita Gam (episode 19), Nancy Gates (episode 9), Leo Genn (episode 13), Greta Granstedt (episode 19), Barbara Hale (episode 1), Don Hanmer (episode 3), Dick Haymes (episode 18), Dennis Hopper (episode 35), Kim Hunter (episode 3), Buster Keaton (episode 12), Angela Lansbury (episode 24), Peter Lawford (episode 9), Cloris Leachman (episode 6), Sheldon Leonard (episode 15), Peter Lorre (episode 16), James Lydon (episode 5), Jeanette MacDonald (episode 17), Jimmy McHugh (episode 21), Fred MacMurray (episode 21), Lotfi Mansouri (episode 34), Vera Miles (episode 10), Ray Milland (episode 23), Sal Mineo (episode 26), Thomas Mitchell (episode 7), George Montgomery (episode 24), Patricia Morison (episode 26), Barry Nelson (episode 28), Edmond O'Brien (episode 25), Dan O'Herlihy (episode 7), Dennis O'Keefe (episode 15), ZaSu Pitts (episode 12), Basil Rathbone (episode 19), Philip Reed (episode 13), Robert Ryan (episode 11), George Sanders (episodes 26 and 33), Herb Shriner (episode 1), Mary Sinclair (episode 28), Rod Steiger (episode 23), William Talman (episode 16), Casey Tibbs (episode 29), June Vincent (episodes 14 [not billed in opening credits] and 18), John Wayne (episode 10), Pat Wayne (episode 10), Michael Wilding (episode 31), Fay Wray (episode 15), Teresa Wright (episode 16), Keenan Wynn (episode 3), May Wynn (episode 13) and Alan Young (episode 6). But there was one difference between the two versions of the program: while the radio program had presented only condensed versions of well-known plays and films, the television version presented mostly original dramas.

Paragraph 3: G.R.L. is a girl group consisting of Lauren Bennett, Natasha Slayton, and Jazzy Mejia, Girlicious' Natalie Mejia's younger sister.  It originally consisted of five members; Lauren Bennett, Paula van Oppen, Natasha Slayton, Simone Battle and Emmalyn Estrada, and was the most successful of Antin's girl group ventures since the original Pussycat Dolls pop group. The group was originally planned to be the new line up of the Pussycat Dolls following their disbandment in 2010. Robin later rebranded them as a new group to serve as the "next generation" of the Dolls. Their managers were Larry Rudolph and Adam Leber. On June 16, 2013, they released their first single, "Vacation", as a B-side track on Britney Spears' single "Ooh La La", a song from the film The Smurfs 2.  Despite commercial success in the UK and Australia, the group officially disbanded on June 2, 2015, nine months after Simone Battle's death in September, 2014. However, on June 18, 2016, Robin Antin and their new rep, Matt Wynter, from Loco Talent's website confirmed that G.R.L. were officially reforming, without Paula Van Oppen and Emmalyn Estrada. On August 5, 2016, it was officially announced that Jazzy Mejia was added to the group, along with original members Lauren Bennett and Natasha Slayton, making G.R.L. officially a trio.   Their music is set to be released in the summer, with works on a debut album.  On August 16, 2016, the newly reformed group released their promotional single, "Kiss Myself" produced by Guy Furious.  On December 9, 2016, the trio released their second single, "Are We Good?" produced by HooknSling.  According to Lauren Bennett, during the interview on The New Music Buzz, this is the lead single to the group's debut upcoming album.  These two singles that the trio were credited as songwriters.

Paragraph 4: With the People from the Bridge follows the main line of narrative of Z213: Exit, the first book of the Poena Damni trilogy. The work opens with a first-person account of the narrator of Z213: Exit, who recounts his arrival at a derelict train station named Nichtovo in search of a place where he has been told, an improvised performance is being staged by, what appears to be, a band of social outcasts. The narrator joins the few members of the audience present and goes on to record in his journal the setting as well as the events taking place "on stage" as the performance is about to begin. A group of four women in the role of a Chorus and three other protagonists (LG, NCTV, Narrator) are making their final preparations in front of a dilapidated car among machine parts and the noise of a generator.  As the lights "on stage" are lowered the performance sets off with the Chorus's opening monologue followed in turn by the sequence of recitations of the other characters.  The story unfolds during the timeline of a calendar day dedicated to the dead, a kind of All Souls' Day or Saturday of Souls. The plot line originates in the Bible incident (Mark, 5:9), according to which the Gerasene demoniac begs Jesus to spare him from his torments.  In the play enacted, LG assumes and expands on the role of the demoniac, recounting his past condition and describing how he has ended up taking residence in a cemetery. In a kind of simultaneous narration, LG recounts how he has opened the grave of his deceased companion (NCTV), prompted by voices he has been hearing. He enters, finds her body inside and feels compelled to stay with her, eventually making the realization that she is gradually coming back to life. Meanwhile, the Chorus is making preparations in anticipation of the yearly visit of their deceased kin, and LG and NCTV eventually join them after having broken off from a crowd of revenants aroused on the occasion of the Soul Saturday. As the day comes to an end, LG and NCTV leave and become again part of the crowd they had broken off from. Despite trying to hold on to each other they are finally absorbed in an indefinite collective of souls moving ahead and crossing "the bridge between the worlds" as a Christian-like resurrection appears on the horizon. The book concludes with the epilogue of the on-stage(internal) Narrator recounting the process by which a mob gathered in a cemetery unearths two bodies, ritually "killing" the female by driving a stake in her chest, in a manner akin to handling vampires in the Slavonic tradition. A final narrative twist is offered by the presence of a tabloid clipping which delivers the reader back to a stark and gruesome everyday reality.

Paragraph 5: Golden Heart is the debut solo studio album by British singer-songwriter and guitarist Mark Knopfler, released on 26 March 1996 by Vertigo Records internationally and Warner Bros. Records in the United States. Following a successful career leading British rock band Dire Straits and composing a string of critically acclaimed film soundtrack albums, Knopfler recorded his first solo album, drawing upon the various musical influences he'd engaged since emerging as a major recording artist in 1978. The album reached the top-10 position on charts in Austria, Belgium, Finland, Italy, the Netherlands, Norway, Sweden, Switzerland and the United Kingdom. The album peaked at 105 on the Billboard 200 in the United States.

Paragraph 6: With the People from the Bridge follows the main line of narrative of Z213: Exit, the first book of the Poena Damni trilogy. The work opens with a first-person account of the narrator of Z213: Exit, who recounts his arrival at a derelict train station named Nichtovo in search of a place where he has been told, an improvised performance is being staged by, what appears to be, a band of social outcasts. The narrator joins the few members of the audience present and goes on to record in his journal the setting as well as the events taking place "on stage" as the performance is about to begin. A group of four women in the role of a Chorus and three other protagonists (LG, NCTV, Narrator) are making their final preparations in front of a dilapidated car among machine parts and the noise of a generator.  As the lights "on stage" are lowered the performance sets off with the Chorus's opening monologue followed in turn by the sequence of recitations of the other characters.  The story unfolds during the timeline of a calendar day dedicated to the dead, a kind of All Souls' Day or Saturday of Souls. The plot line originates in the Bible incident (Mark, 5:9), according to which the Gerasene demoniac begs Jesus to spare him from his torments.  In the play enacted, LG assumes and expands on the role of the demoniac, recounting his past condition and describing how he has ended up taking residence in a cemetery. In a kind of simultaneous narration, LG recounts how he has opened the grave of his deceased companion (NCTV), prompted by voices he has been hearing. He enters, finds her body inside and feels compelled to stay with her, eventually making the realization that she is gradually coming back to life. Meanwhile, the Chorus is making preparations in anticipation of the yearly visit of their deceased kin, and LG and NCTV eventually join them after having broken off from a crowd of revenants aroused on the occasion of the Soul Saturday. As the day comes to an end, LG and NCTV leave and become again part of the crowd they had broken off from. Despite trying to hold on to each other they are finally absorbed in an indefinite collective of souls moving ahead and crossing "the bridge between the worlds" as a Christian-like resurrection appears on the horizon. The book concludes with the epilogue of the on-stage(internal) Narrator recounting the process by which a mob gathered in a cemetery unearths two bodies, ritually "killing" the female by driving a stake in her chest, in a manner akin to handling vampires in the Slavonic tradition. A final narrative twist is offered by the presence of a tabloid clipping which delivers the reader back to a stark and gruesome everyday reality.

Paragraph 7: According to one film critic, the films that "typify the characters and conflicts associated with Chase's work" were Winchester 73, Bend of the River and The Far Country:First of all, two strong men are involved in an arduous journey across the western terrain, with units of society either contained within the journey itself (as a wagon train) or as various stops along the way (western towns, mining towns, etc.). The primary involvement of the movie is the conflict between two men, who tend to be deeply linked by some common bond... In some cases the conflict is internal, the hero against the evil inside himself. Although Chase created strong females in films... most Chase stories are male conflicts. Chase once said "That I believe is the greatest love story in all of the world. I don't mean sexual. I have always believed that a man can actually love and respect another man more so than he can a woman."... Straightforward dialogue, and absence of pretentious philosophizing, and clearly delineated action mark the story progressions, which culminate in unambiguous resolutions. Any ambiguities lie in the maturity of the characterizations, in which the two men are neither totally good nor totally bad. In this regard, Chase made a major contribution to what is thought of as the "adult" or "psychological" Westerns of the 1950s. The critic elaborated:The Chase Western story is presented in a physical progression across a larger-than-life landscape, an epic journey west which allows forces of good and evil to interact... The issue of the Chase Western script is not whether man will settle the West and live in it. It is assumed he will, or that he already has. The question is more universal and appropriate to modern life: Will the uncivilized forces within man create a Wild West in perpetuity by winning out over his better instincts?

Paragraph 8: With the People from the Bridge follows the main line of narrative of Z213: Exit, the first book of the Poena Damni trilogy. The work opens with a first-person account of the narrator of Z213: Exit, who recounts his arrival at a derelict train station named Nichtovo in search of a place where he has been told, an improvised performance is being staged by, what appears to be, a band of social outcasts. The narrator joins the few members of the audience present and goes on to record in his journal the setting as well as the events taking place "on stage" as the performance is about to begin. A group of four women in the role of a Chorus and three other protagonists (LG, NCTV, Narrator) are making their final preparations in front of a dilapidated car among machine parts and the noise of a generator.  As the lights "on stage" are lowered the performance sets off with the Chorus's opening monologue followed in turn by the sequence of recitations of the other characters.  The story unfolds during the timeline of a calendar day dedicated to the dead, a kind of All Souls' Day or Saturday of Souls. The plot line originates in the Bible incident (Mark, 5:9), according to which the Gerasene demoniac begs Jesus to spare him from his torments.  In the play enacted, LG assumes and expands on the role of the demoniac, recounting his past condition and describing how he has ended up taking residence in a cemetery. In a kind of simultaneous narration, LG recounts how he has opened the grave of his deceased companion (NCTV), prompted by voices he has been hearing. He enters, finds her body inside and feels compelled to stay with her, eventually making the realization that she is gradually coming back to life. Meanwhile, the Chorus is making preparations in anticipation of the yearly visit of their deceased kin, and LG and NCTV eventually join them after having broken off from a crowd of revenants aroused on the occasion of the Soul Saturday. As the day comes to an end, LG and NCTV leave and become again part of the crowd they had broken off from. Despite trying to hold on to each other they are finally absorbed in an indefinite collective of souls moving ahead and crossing "the bridge between the worlds" as a Christian-like resurrection appears on the horizon. The book concludes with the epilogue of the on-stage(internal) Narrator recounting the process by which a mob gathered in a cemetery unearths two bodies, ritually "killing" the female by driving a stake in her chest, in a manner akin to handling vampires in the Slavonic tradition. A final narrative twist is offered by the presence of a tabloid clipping which delivers the reader back to a stark and gruesome everyday reality.

Paragraph 9: On December 13, 2009, Metro began operation on the Metro Silver Line. The line's length is , almost twice as long as the Metro Orange Line. Currently, the Silver Line is the longest line in the Go Metro Map. Unlike the  Metro Orange Line, the Metro Silver Line was not constructed in order to begin revenue operations. It is the second line in the Metro Liner system.  The line gets its color from the El Monte Busway route color. The bronze color was also considered, but then set aside for potential identification of a future rail line. Using grants and funds from the Metro ExpressLanes project, the line began operation between the Harbor Gateway Transit Center, Downtown Los Angeles,  and  El Monte Station.  The line does not run on dedicated busways like the Metro Orange Line. Instead, the line runs on Hov Lanes on the El Monte Busway and Harbor Transitway, which are on the I-10 and I-110 freeways. Some passengers consider the line like a Metro Express line, but it has a few differences. It is the only bus line in the Metro Bus & Rail system with a different and higher fare. The Silver Line's base fare is $2.45.  Since the line runs on the freeways, it has higher fares. The Metro Silver Line only has 9 busway stations  and the rest are street stops. The 9 busway stations are not completely dedicated for the Metro Silver Line. Instead, the stations are shared by other lines which also run on the busways. Other Metro Express lines and other municipal operator lines share the stations with the Metro Silver Line. None of the Silver Line stations have art nor Metro pylon signs. There are also no ticket vending machines at the 9 stations. The 10 street stops feature no special shelters nor any ticket vending machines. There are no off board payment amenities nor any all door boarding. The bus payment is made on board. The Metro Silver Line concept first began in its planning stages on August 1993. The purpose was to simply service on the Harbor Transitway and the El Monte Busway. It was supposed to replace several Metro Express Lines. The report did include the idea of operating the Dual Hub BRT with articulated buses, ticket vending machines at all stations and street stops. The street stops were supposed to be replaced by special shelters dedicated only for the Metro Silver Line. Due to lack of funds and operational grants, the line was never implemented in 1993. The Metro Silver Line concept was revived for discussion in 2008, and in 2009, the line was implemented.

Paragraph 10: Golden Heart is the debut solo studio album by British singer-songwriter and guitarist Mark Knopfler, released on 26 March 1996 by Vertigo Records internationally and Warner Bros. Records in the United States. Following a successful career leading British rock band Dire Straits and composing a string of critically acclaimed film soundtrack albums, Knopfler recorded his first solo album, drawing upon the various musical influences he'd engaged since emerging as a major recording artist in 1978. The album reached the top-10 position on charts in Austria, Belgium, Finland, Italy, the Netherlands, Norway, Sweden, Switzerland and the United Kingdom. The album peaked at 105 on the Billboard 200 in the United States.

Paragraph 11: Saturday Night Fever producer and writer Robert Stigwood and Norman Wexler started planning a sequel soon after the original film came out in 1977, due to the film's success. They came up with the title Staying Alive, and Wexler wrote a script. Travolta was open to the idea of a sequel, but did not like the pessimism of the script, thinking that his character, Tony Manero, needed to see more success as a dancer. Stigwood and executives from Paramount Pictures spent the next several years trying to convince Travolta to film the script as written, but with no success. The project was considered abandoned, but then, in 1981, Stigwood met with Travolta to get Travolta's views on how a sequel should go. Travolta stated that he wanted Manero to attempt a dance career on Broadway and end up in a leading role due to his talent. Wexler wrote another script based on Travolta's ideas, in which Manero becomes a Broadway dancer but remains in the chorus. Travolta agreed to participate in the film, though he preferred an ending more like the one he had envisioned: he agreed that Wexler's ending was a more realistic outcome, but felt that it would not be sufficiently exciting for audiences.

Paragraph 12: From the Early Middle Ages, Schneppenbach belonged to a major landhold of Saint Maximin's Imperial Abbey at Trier. The 2,742-hectare landhold comprised, besides the centres of Blickersau and Kaffeld, which later vanished, the villages of Woppenroth, Bundenbach, Schneppenbach, Bruschied and the main centre and parish seat of Hausen bei Rhaunen. Until the 18th century, Schneppenbach was administratively tightly bound with the Schmidtburg (castle), which nowadays stands within the village's municipal limits. The castle, whose beginnings go back at least as far as 929, and possibly as far as 926, is one of the oldest in the Nahe-Hunsrück region and is believed to have been the family seat of the Counts in the Nahegau, the Emichones. Their coheirs and rightful successors, the Waldgraves, owned the castle in the 12th and 13th centuries. Internal Waldgravial family disputes, however, resulted in ownership being transferred about 1330 to Archbishop and Elector of Trier Baldwin of Luxembourg. Under Baldwin, the castle was expanded, and in the time that followed, it became the seat of the Electoral-Trier Amt of Schmidtburg. While Bundenbach was the only village in the Amt that stood wholly under Electoral-Trier sovereignty, Bruschied and Schneppenbach formed a condominium and belonged jointly to the Electorate of Trier and the Knights of Wildberg. When the Amt of Schmidtburg was pledged to the Electoral-Trier Amtmann Nikolaus von Schmidtburg sometime before 1554, he temporarily introduced Calvinism. By 1626, though, the villages had reverted to Catholicism. In 1563, there were nine households in Schneppenbach, five in 1684 and eleven in 1715 that belonged to the Electoral-Trier Amt of Schmidtburg. About 1650, records show that the local lord was the knight Sir Cratz von Scharffenstein. Schneppenbach formed together with Bruschied an Ingericht (local court district). The two villages' inhabitants only owned one chapel, and attended the main services in Bundenbach. In 1794, during the War of the First Coalition, the German lands on the Rhine's left bank were occupied by the French, and in 1798, the region was reorganized on the French administrative model by the French Directory. With this French administrative reform, the Amt of Schmidtburg was dissolved. Schneppenbach passed to the then newly founded Mairie ("Mayoralty") of Kirn in the Arrondissement of Simmern and the Department of Rhin-et-Moselle, remaining there for the rest of French Revolutionary and Napoleonic times. Then, in 1817, it passed to the Bürgermeisterei ("Mayoralty") of Gemünden in the Prussian Simmern district. In the course of administrative restructuring in Rhineland-Palatinate after the Second World War, Schneppenbach was assigned to the Verbandsgemeinde of Kirn-Land.

Paragraph 13: Billed in the opening credits of their respective television episodes are: Lee Aaker (episode 8), Lola Albright (episode 4), John Alderson (episode 35), Leon Ames (episode 5), Lew Ayres (episode 20), Lynn Bari (episode 4), Ralph Bellamy (episode 19), William Bendix (episode 35), John Bentley (episode 30), Charles Bickford (episode 11), Janet Blair (episode 28), Ward Bond (episode 10), Neville Brand (episode 4), Walter Brennan (episode 8), Hillary Brooke (episode 22), Joe E. Brown (episode 12), Edgar Buchanan (episode 8), Rory Calhoun (episodes 2 and 14), Macdonald Carey (episodes 18 and 32), Jack Carson (episode 4), Joan Caulfield (episode 32), Gower Champion (episode 27), Marge Champion (episode 27), Fred Clark (episode 5), Constance Cummings (episode 33), Linda Darnell (episode 30), Laraine Day (episodes 7 and 17), Yvonne deCarlo (episode 14), Brandon deWilde (episode 29), Bobby Driscoll (episode 2), James Dunn (episode 18), Leo Durocher (episode 17), Robert Easton (episode 15),  Buddy Ebsen (episode 28), Marilyn Erskine (episode 21), Frank Fay (episode 9), Errol Flynn (episode 22), Scott Forbes (episode 30), Wallace Ford (episode 20), Sally Forrest (episode 5), Rita Gam (episode 19), Nancy Gates (episode 9), Leo Genn (episode 13), Greta Granstedt (episode 19), Barbara Hale (episode 1), Don Hanmer (episode 3), Dick Haymes (episode 18), Dennis Hopper (episode 35), Kim Hunter (episode 3), Buster Keaton (episode 12), Angela Lansbury (episode 24), Peter Lawford (episode 9), Cloris Leachman (episode 6), Sheldon Leonard (episode 15), Peter Lorre (episode 16), James Lydon (episode 5), Jeanette MacDonald (episode 17), Jimmy McHugh (episode 21), Fred MacMurray (episode 21), Lotfi Mansouri (episode 34), Vera Miles (episode 10), Ray Milland (episode 23), Sal Mineo (episode 26), Thomas Mitchell (episode 7), George Montgomery (episode 24), Patricia Morison (episode 26), Barry Nelson (episode 28), Edmond O'Brien (episode 25), Dan O'Herlihy (episode 7), Dennis O'Keefe (episode 15), ZaSu Pitts (episode 12), Basil Rathbone (episode 19), Philip Reed (episode 13), Robert Ryan (episode 11), George Sanders (episodes 26 and 33), Herb Shriner (episode 1), Mary Sinclair (episode 28), Rod Steiger (episode 23), William Talman (episode 16), Casey Tibbs (episode 29), June Vincent (episodes 14 [not billed in opening credits] and 18), John Wayne (episode 10), Pat Wayne (episode 10), Michael Wilding (episode 31), Fay Wray (episode 15), Teresa Wright (episode 16), Keenan Wynn (episode 3), May Wynn (episode 13) and Alan Young (episode 6). But there was one difference between the two versions of the program: while the radio program had presented only condensed versions of well-known plays and films, the television version presented mostly original dramas.

Paragraph 14: On December 13, 2009, Metro began operation on the Metro Silver Line. The line's length is , almost twice as long as the Metro Orange Line. Currently, the Silver Line is the longest line in the Go Metro Map. Unlike the  Metro Orange Line, the Metro Silver Line was not constructed in order to begin revenue operations. It is the second line in the Metro Liner system.  The line gets its color from the El Monte Busway route color. The bronze color was also considered, but then set aside for potential identification of a future rail line. Using grants and funds from the Metro ExpressLanes project, the line began operation between the Harbor Gateway Transit Center, Downtown Los Angeles,  and  El Monte Station.  The line does not run on dedicated busways like the Metro Orange Line. Instead, the line runs on Hov Lanes on the El Monte Busway and Harbor Transitway, which are on the I-10 and I-110 freeways. Some passengers consider the line like a Metro Express line, but it has a few differences. It is the only bus line in the Metro Bus & Rail system with a different and higher fare. The Silver Line's base fare is $2.45.  Since the line runs on the freeways, it has higher fares. The Metro Silver Line only has 9 busway stations  and the rest are street stops. The 9 busway stations are not completely dedicated for the Metro Silver Line. Instead, the stations are shared by other lines which also run on the busways. Other Metro Express lines and other municipal operator lines share the stations with the Metro Silver Line. None of the Silver Line stations have art nor Metro pylon signs. There are also no ticket vending machines at the 9 stations. The 10 street stops feature no special shelters nor any ticket vending machines. There are no off board payment amenities nor any all door boarding. The bus payment is made on board. The Metro Silver Line concept first began in its planning stages on August 1993. The purpose was to simply service on the Harbor Transitway and the El Monte Busway. It was supposed to replace several Metro Express Lines. The report did include the idea of operating the Dual Hub BRT with articulated buses, ticket vending machines at all stations and street stops. The street stops were supposed to be replaced by special shelters dedicated only for the Metro Silver Line. Due to lack of funds and operational grants, the line was never implemented in 1993. The Metro Silver Line concept was revived for discussion in 2008, and in 2009, the line was implemented.

Paragraph 15: Mark Winfield wrote: "Card opens up vast vistas of a history which might have been, a history in which centuries of harsh oppression of Native Americans (followed by the mass enslavement of blacks) might have been averted and more equitable relations between the two sides of the Atlantic established. (...) I am no expert on Mesoamerican history and culture. The alterations introduced in Western Hemisphere by the travelers from the future seem to me reasonably plausible, given the resources at these travelers' disposal - though an expert might pick holes in Card's scenario.(...) However, the final chapters, dealing with Columbus' belated return to Spain, seem in my humble opinion hopelessly idealistic.(...) The humane religion cooked up in the Caribbean by the time travelers could be considered a form of Christianity. But it is certainly not the Christianity practiced by the Catholic Church in 16th Century Europe. Which means that, from the Church's point of view, it is h-e-r-e-s-y, pure and simple. The 16th Century Catholic Church took a very dim view of heresy, the Spanish Church most of all. The Church established an institution charged with fighting heresy and stamping it out, the name of this institute: The Inquisition. (...) From the Church's point of view, the situation depicted by Card would inevitably be interpreted as "Columbus had become a heretic across the ocean, has come back with a heretic war fleet, and demands to establish on Spanish soil a heretic enclave where heresy could be openly practiced and from where it can be disseminated". Could the Spanish Crown have acceded smoothly and harmoniously to Columbus' request? Not likely. (...) Moreover, this is the very time when the Reformation was bubbling over in Germany. Inevitably, Columbus and his fellows would be regarded as the confederates of Luther.  (...) This intervention from the future may have averted the European conquest of America, but it would not necessarily have created a peaceful and harmonious 16th Century. More likely, the European Wars of Religion would have gained a Transatlantic dimension".

Paragraph 16: Saturday Night Fever producer and writer Robert Stigwood and Norman Wexler started planning a sequel soon after the original film came out in 1977, due to the film's success. They came up with the title Staying Alive, and Wexler wrote a script. Travolta was open to the idea of a sequel, but did not like the pessimism of the script, thinking that his character, Tony Manero, needed to see more success as a dancer. Stigwood and executives from Paramount Pictures spent the next several years trying to convince Travolta to film the script as written, but with no success. The project was considered abandoned, but then, in 1981, Stigwood met with Travolta to get Travolta's views on how a sequel should go. Travolta stated that he wanted Manero to attempt a dance career on Broadway and end up in a leading role due to his talent. Wexler wrote another script based on Travolta's ideas, in which Manero becomes a Broadway dancer but remains in the chorus. Travolta agreed to participate in the film, though he preferred an ending more like the one he had envisioned: he agreed that Wexler's ending was a more realistic outcome, but felt that it would not be sufficiently exciting for audiences.

Paragraph 17: With the People from the Bridge follows the main line of narrative of Z213: Exit, the first book of the Poena Damni trilogy. The work opens with a first-person account of the narrator of Z213: Exit, who recounts his arrival at a derelict train station named Nichtovo in search of a place where he has been told, an improvised performance is being staged by, what appears to be, a band of social outcasts. The narrator joins the few members of the audience present and goes on to record in his journal the setting as well as the events taking place "on stage" as the performance is about to begin. A group of four women in the role of a Chorus and three other protagonists (LG, NCTV, Narrator) are making their final preparations in front of a dilapidated car among machine parts and the noise of a generator.  As the lights "on stage" are lowered the performance sets off with the Chorus's opening monologue followed in turn by the sequence of recitations of the other characters.  The story unfolds during the timeline of a calendar day dedicated to the dead, a kind of All Souls' Day or Saturday of Souls. The plot line originates in the Bible incident (Mark, 5:9), according to which the Gerasene demoniac begs Jesus to spare him from his torments.  In the play enacted, LG assumes and expands on the role of the demoniac, recounting his past condition and describing how he has ended up taking residence in a cemetery. In a kind of simultaneous narration, LG recounts how he has opened the grave of his deceased companion (NCTV), prompted by voices he has been hearing. He enters, finds her body inside and feels compelled to stay with her, eventually making the realization that she is gradually coming back to life. Meanwhile, the Chorus is making preparations in anticipation of the yearly visit of their deceased kin, and LG and NCTV eventually join them after having broken off from a crowd of revenants aroused on the occasion of the Soul Saturday. As the day comes to an end, LG and NCTV leave and become again part of the crowd they had broken off from. Despite trying to hold on to each other they are finally absorbed in an indefinite collective of souls moving ahead and crossing "the bridge between the worlds" as a Christian-like resurrection appears on the horizon. The book concludes with the epilogue of the on-stage(internal) Narrator recounting the process by which a mob gathered in a cemetery unearths two bodies, ritually "killing" the female by driving a stake in her chest, in a manner akin to handling vampires in the Slavonic tradition. A final narrative twist is offered by the presence of a tabloid clipping which delivers the reader back to a stark and gruesome everyday reality.

Paragraph 18: G.R.L. is a girl group consisting of Lauren Bennett, Natasha Slayton, and Jazzy Mejia, Girlicious' Natalie Mejia's younger sister.  It originally consisted of five members; Lauren Bennett, Paula van Oppen, Natasha Slayton, Simone Battle and Emmalyn Estrada, and was the most successful of Antin's girl group ventures since the original Pussycat Dolls pop group. The group was originally planned to be the new line up of the Pussycat Dolls following their disbandment in 2010. Robin later rebranded them as a new group to serve as the "next generation" of the Dolls. Their managers were Larry Rudolph and Adam Leber. On June 16, 2013, they released their first single, "Vacation", as a B-side track on Britney Spears' single "Ooh La La", a song from the film The Smurfs 2.  Despite commercial success in the UK and Australia, the group officially disbanded on June 2, 2015, nine months after Simone Battle's death in September, 2014. However, on June 18, 2016, Robin Antin and their new rep, Matt Wynter, from Loco Talent's website confirmed that G.R.L. were officially reforming, without Paula Van Oppen and Emmalyn Estrada. On August 5, 2016, it was officially announced that Jazzy Mejia was added to the group, along with original members Lauren Bennett and Natasha Slayton, making G.R.L. officially a trio.   Their music is set to be released in the summer, with works on a debut album.  On August 16, 2016, the newly reformed group released their promotional single, "Kiss Myself" produced by Guy Furious.  On December 9, 2016, the trio released their second single, "Are We Good?" produced by HooknSling.  According to Lauren Bennett, during the interview on The New Music Buzz, this is the lead single to the group's debut upcoming album.  These two singles that the trio were credited as songwriters.

Paragraph 19: Golden Heart is the debut solo studio album by British singer-songwriter and guitarist Mark Knopfler, released on 26 March 1996 by Vertigo Records internationally and Warner Bros. Records in the United States. Following a successful career leading British rock band Dire Straits and composing a string of critically acclaimed film soundtrack albums, Knopfler recorded his first solo album, drawing upon the various musical influences he'd engaged since emerging as a major recording artist in 1978. The album reached the top-10 position on charts in Austria, Belgium, Finland, Italy, the Netherlands, Norway, Sweden, Switzerland and the United Kingdom. The album peaked at 105 on the Billboard 200 in the United States.

Answer: 10