Paragraph 1: She was the daughter of Turkish comedian Naşit Özcan and Turkish-Armenian or Greek theater actress Amelya Hanım, and sister of theater actor Selim Naşit Özcan. The official website of the Women's Museum, Istanbul states that her grandmother was Küçük Virjin, a famous ethnic Greek dancer born in 1870, and was the first Greek canto dancer in the Ottoman Empire. Her husband, Yorgi, and two of her children-sons  Andre and Niko-were all musicians, while her daughter, Amalia, Adile's mother, also became a canto dancer and stage actress. Adile Naşit was married, twice, to Cemal Ince and Ziya Keskiner. She starred with Kemal Sunal, Münir Özkul and other prominent Turkish actresses and actors.

Paragraph 2: From Port-Cartier the railway runs northwest along the Aux Rochers River valley and north along the east shore of Lake Quatre Lieues before running west and then north along the MacDonald River valley beside the proposed Lake Walker National Park as far as Lac Valilée. The railway continues northwest to Lake Bourgeois, and runs northward up the east shore of this lake and then of Grand lac Caotibi, running between this lake and Lake Arthur. It then follows the east shore of Petit lac Caotibi to the Rivière Toulnustouc Nord-Est, and follows this river valley northeast and then north past Lac Cartier. Through almost all of this southern section the railway runs through the Port-Cartier–Sept-Îles Wildlife Reserve. The railway continues to follow the Rivière Toulnustouc Nord-Est north and then northwest, then runs northwest to Petit lac Manicouagan. It follows the south and west shores of this lake, crossing the Hart-Jaune Dam over the Hart Jaune River. From here it runs north of northwest across marshy terrain to Mont-Wright.

Paragraph 3: Surviving knowledge of the Yuan opera, such as through written scripts, allows some insight. Yuan opera was a type of opera, or more specifically Chinese opera, which as a theatrical art form allowed for a large amount of poetic material to be integrated into it, in various ways; although, as the tradition no longer exists in its historical form, most of the knowledge thereof relies upon literary sources: however, this sourcing has indeed favored the survival of the incorporated poetry involved in these performances. During the Yuan dynasty the prestige of both theater and of the use of vernacular language in art and literature were probably related to the fact that the new Mongol dominated regime less understood the older, classical language and forms. Rather, the new Mongol elite appreciated the theater and the use of vernacular language. Compared to the traditional Chinese shì, or scholar-officials or emperors, the newcomers were not so literarily erudite or oriented, much less were they appreciative of the ancient forms, expressions, and allusions, legacy of more than a millennia. The Zaju theater took much of its characteristics from both this emphasis on the vernacular speech, as well as the lowered prestige of traditional scholarly literature. Also, founding emperor Khubilai Khan suspended the traditional civil service tests, which emphasized learning of the ancient classical tradition, thus both lowering the prestige of this course of learning and also reducing the opportunities for scholar-officials to engage in traditional career paths. This resulted in opportunities for aspiring playwrights to write for zaju, both for those playwrights relatively new to literature and for those members of the traditional shi class who could no longer succeed as poets and essayists, and were willing to embrace the zaju. The long-term legacy of the zaju theater was thus not only regarding the development of Chinese opera over subsequent centuries into the present day; but, also, despite the ensuing Ming dynasty restoration of prestige to legacy literary forms, the zaju form contributed to the increased prestige and popularity of vernacular forms such as the novel which ensued in the Ming dynasty literature some of which also embed poetry.  A new emphasis on the use of the then current, vernacular Chinese appears during the period of Yuan dynasty poetry. much of the poetry of the Yuan period is in the form of the qu poetry verse, which basically became an independent form of art, removed from its original theatrical and orchestral context: written after the model of the cadences, or set tone patterns, known from the arias of the zaju theater, the Chinese Sanqu poetry eventually became a separate tradition, in the category of poetic literature, rather than in the category of the performing arts.

Paragraph 4: The SOFAR channel (short for sound fixing and ranging channel), or deep sound channel (DSC), is a horizontal layer of water in the ocean at which depth the speed of sound is at its minimum. The SOFAR channel acts as a waveguide for sound, and low frequency sound waves within the channel may travel thousands of miles before dissipating. An example was reception of coded signals generated by the Navy chartered ocean surveillance vessel Cory Chouest off Heard Island, located in the southern Indian Ocean (between Africa, Australia and Antarctica), by hydrophones in portions of all five major ocean basins and as distant as the North Atlantic and North Pacific.

Paragraph 5: In Hill's first season with Houston, he had more receptions than he did in five seasons with the Rams (due to the quarterback being Warren Moon, the prolific passer acquired by the team in 1984), catching 64 passes for 1,169 yards with nine touchdowns while being a returner no longer. He had another 1,000-yard season the following year with 65 catches on 1,112 yards. Between 1985 and 1991, Hill had over 900 receiving yards in each season while having five 1,000-yard seasons. This included a career high 10 touchdowns in 1988, which saw him reach the Pro Bowl for the first time ever. This was due to Houston's all-out passing attack, with the "Run and Shoot" usually having four wideouts and one running back on every play. He went to the Pro Bowl again in 1990 with 74 catches on 1,019 yards for five touchdowns. On September 30 of that year, Hill became the first player to score a touchdown in three different decades (beating James Lofton by one game), while Hill accounted for 77 yards receiving in Warren Moon's record 527-yard passing performance against the Kansas City Chiefs on December 16. During the 1991 season, Hill became the first player to have four 1,000-yard seasons after the age of 30 (later surpassed by Jerry Rice). He closed out his career with Houston in 1991 with a career high 90 receptions for 1,109 yards. When Hill left the Oilers, he had the most receptions in franchise history with 480.  He was later passed by his teammates Ernest Givins and Haywood Jeffires (Frank Wycheck later passed him as well); Hill ranks fourth in receptions along with second in yards to Givins and 3rd in touchdowns. In his final game as an Oiler in the 1992 postseason, Hill caught two passes for 21 yards, with his nine-yard reception from Moon giving the Oilers an early 14-0 lead over the Denver Broncos; it was Hill's first and only postseason touchdown. However, the Broncos won 26-24.

Paragraph 6: According to Betty Cortina of People magazine, Dreaming of You marked a shift that abrogated the singer being marketed as part of her band and billed Selena as an American solo artist in "the most fundamental way for her". From 1989, Selena's brother A.B. Quintanilla became Selena's principal music producer and songwriter, and remained so throughout her career. Because Quintanilla III was working on the singer's follow-up recording to Amor Prohibido (1994), he could not produce the crossover album. He was asked to meet with several producers in New York and choose one who would best "fit with Selena's style". Dreaming of You was the first album Selena's family did not produce. They had decided to step down before the recording sessions and allow professional pop producers to work with her. Quintanilla III and Selena flew to Nashville, Tennessee, and met with Keith Thomas, who had prepared the instrumental parts for the song called "I Could Fall in Love" but had not yet completed the vocal parts, so he sang it for them. Selena and Quintanilla III immediately liked it; Quintanilla III said he wanted Selena to include it on her album.  Recording sessions began in December 1994 at The Bennett House in Franklin, Tennessee; Selena had to return later when Thomas could provide additional vocals. Selena and her husband Chris Pérez arrived at the studio on March 24, 1995, to finish recording the song. In a 2002 interview, Pérez said Thomas provided Selena with a cassette of "I Could Fall in Love" and said she had the song "on loop" and she "must have heard it a hundred times". He believed it had an "effect on her" because "she went into the studio the next day to actually do the recording and just was nailing things left and right and [Thomas] was letting her do her thing and I mean it was an incredible thing to watch".

Paragraph 7: Sinagua is Spanish for "without water", an acknowledgement that the Sinagua people were able to live in such a dry region.  By living in such a region the Sinagua became experts at conserving water and dealing with droughts.  The Sinagua were also believed to have been active traders whose activities and influence stretched to the Gulf of Mexico and even as far as Central America. The Sinagua, who inhabited the dwellings in Walnut Canyon, left mysteriously around 1250 AD. It is thought that the Sinagua left because of fear of neighboring tribes or droughts, but it is not certain.  The Sinagua left over 80 cliff dwellings behind.  The Sinagua built their homes under limestone ledges, deep within the canyon, some time between 1125 and 1250 – taking advantage of the natural recesses in the limestone cliff walls which were eroded over millions of years by flowing water. The dwellings themselves were small, but large enough for the inhabitants to cook and sleep.  Most of the cliff dwelling rooms are situated near the loop trail, typically slightly above the trail and immediately outside the loop itself. A typical room might have been the dwelling of a single family, and might measure approximately two meters high by six meters long by three meters deep.  Because of the area's dry climate, the water present in the canyon was essential for its inhabitants over 700 years ago as it is for animal and plant life today.  The plant life is very diverse in Walnut Canyon, with more than 387 different plant species, including the Prickly Pear cactus and the Arizona Black Walnut.  The biodiversity of the area includes high concentrations of sensitive plant species that probably contributed to the decision made by prehistoric people to settle in the area.

Paragraph 8: "Violently Happy" received generally positive reviews from music critics. It was defined "bittersweet" by Heather Phares of AllMusic, and "insanely addictive" by Sean McCarthy of The Daily Vault, which also deemed its title as "one of the best song titles of all time". The Daily Telegraph'''s journalist Emily Bearn noticed that "Violently Happy" finds her making guttural noises at the sea: "I tip-toe down to the shore/Stand by the ocean/Make it roar at me/And I roar back". Brantley Bardin of Details commented that "songs like “Violently Happy” summed up a worldview that put all its faith in emotional abandon instead of logic. “Too much cleverness,” says Björk, “is the worst disease in the world. It ruins everything. Give us a laugh—make us happy". Brad Beatnik from Music Weeks RM Dance Update wrote, "A typical fourth single, this might not be quite as immediate as her previous hits but it still has some damn fine moments." In particular, Simon Reynolds of The New York Times praised the song generally, "The title of 'Violently Happy' captures the Björk effect perfectly: a gush and rush of euphoria, a tidal wave of oceanic feeling. Over the song's brisk house beats, Björk stammers as she struggles to express feelings of excitement so intense she seems on the brink of leaping out of her skin: 'I'm driving my car too fast with ecstatic music on/I'm daring people to jump off roofs with me.' In the end, she and Mr. Hooper resort to studio wizardry to gesture at inexpressible feelings, sampling one syllable and turning it into a stuttering vocal tic". Johnny Dee from NME commented, "More fun, madness and surprise follows", noting its "pulsating grind". Sylvia Patterson from Smash Hits gave it four out of five, writing, "Not quite the jovial rejoicings of "Big Time Sensuality" but a giant of space-dance majesty, nonetheless." Troy J. Augusto from Variety described it as "a smoothly twisted tune". David Petrilla from The Weekender stated that the singer "is aiming directly at the dance floor" with the song.

Paragraph 9: The Israel Police is responsible for investigations and arrests regarding civilian crimes. If the Israel Police learns of a possible criminal offense through a complaint by a private citizen or through other evidence, it then decides whether or not to open an investigation. In the case of an offense other than a felony, a police officer with the rank of captain or higher is entitled to order that no investigation take place if the officer is of the opinion that no public interest is involved or another authority is legally competent to carry out the investigation. During a police investigation, a judge must issue a search warrant for police to search a home or review computer material, though a police officer may search a home without a warrant if there are reasonable grounds to assume a felony is being committed there or was recently committed there. Any search either with or without a warrant must be conducted in the presence of two witnesses who are not police officers unless the circumstances and urgency of the case do not allow it, a judge permitted it, or the owner of the property or one of the household members requested that it not be conducted in the presence of witnesses. If the police wish to arrest a suspect following an investigation, an arrest warrant must be obtained from a judge. The police must present evidence to the judge, who will issue a warrant only if satisfied that there is reasonable suspicion that the person committed an offense. A police officer is entitled to carry out an arrest without a warrant if there are reasonable grounds to suspect that the suspect committed an offense and if one of the following conditions are met: the suspected offense was committed in the officer's presence or in the recent past, there is a reasonable suspicion that the suspect will not appear for investigative procedures, there is reasonable suspicion that the suspect will disrupt trial proceedings, there is reasonable suspicion that the suspect's continued freedom will constitute a danger to the public, committed a select number of serious violent crimes, drug crimes, or security crimes, or there are reasonable grounds to suspect a suspect violated bail or escaped lawful custody.

Paragraph 10: In the summers months from 1975–1977 Blair started training to be a wrestler with Hiro Matsuda in Florida. Blair debuted in 1977 with Eddie Graham's CWF where he worked primarily as a face. Blair debuted in a tag team match facing Pat Patterson and Ivan Koloff. One of Blair's early opponents was another Matsuda student later known as Hulk Hogan. After CWF, Blair moved on to Bob Geigel's NWA Central States promotion out of Kansas City, Missouri around 1978 where he feuded with Jesse Ventura. Blair also teamed up with "Bulldog" Bob Brown and won the Central States Tag Team championships. He also appeared regularly for Leroy McGuirk's Tri-State promotion, here he met and married Leroy McGuirk's daughter Mike McGuirk in 1980. He was even shot at by Leroy when he tried to talk to Mike before leaving town. While in the Tri-State promotion Blair briefly won the Junior Heavyweight Title from Ron Starr. The one-week reign was Blair's first professional wrestling title reign. After leaving the Tri-State promotion Blair joined up with Fritz Von Erich's World Class Championship Wrestling promotion in Texas, where he lived with David Von Erich for over a year. In WCCW he gained victories over Killer Tim Brooks and former WWWF World Champion Stan Stasiak. During his time in Texas he was asked by Alberto Madril to be his partner in a tournament to crown new American tag-team Champions. Their run with the gold was cut short by Killer Tim Brooks and Armand Hussein in September 1981.

Paragraph 11: Mentioned in the Domesday Book of 1086 as Albricston(e) or the home/farm of Albric/Aethelbeorht, it received its charter granting Borough status in 1303, which was renewed in 1662 for rather unusual reasons. The charter declared that "because Albrighton (then) adjoined Staffordshire on the east, south and west sides, felons and other malefactors fled Staffordshire to escape prosecution because there was no resident justice of the peace in that part of Shropshire" and on account of its remoteness from Shrewsbury, Shropshire's county town. The Borough status meant that there was a Justice of the Peace who could order the arrest of criminals. After the charter's renewal in 1662 it seemed to lapse again by the 19th century. A Mace confirming its borough status was discovered for auction at Sotheby's and this was purchased for £359 in 1948. The money was raised by local subscription under the guidance and perseverance of the Rev E E Wright.  

Paragraph 12: In the following years, that swagger was rewarded as the fortunes of the city's teams improved. The Cubs and the White Sox both made the playoffs for the first time in decades, the National Basketball Association's Bulls drafted Michael Jordan and in 1985 the Bears capped a 15-1 regular season with victory in Super Bowl XX. Smigel began conceiving of characters based on that sort of fan, and the line "Da Bears!", but could not imagine a setting that would work. He told an improv classmate, Bob Odenkirk, a native of nearby Naperville, about his idea, and Odenkirk reminded him to include the slight hiss with which the word ends when pronounced with a strong enough Chicago accent, something only natives of the area would appreciate.

Paragraph 13: MIX was founded in 1987 by Sarah Schulman and Jim Hubbard. The festival was created because newly emerging Gay Film Festivals were not including formally inventive work, and the then vibrant experimental film venues marginalized gay and lesbian work. They were aided by curators Jack Waters and Peter Cramer from Naked Eye Cinema and Ela Troyano who programmed The New York Film Festival Downtown. The first festival featured the world premiere of Su Freidrich's Damned If You Don't, and from then on the festival became a showcase for new works by established makers, archival masters like Barbara Rubin's Christmas on Earth, and new emerging artists. Quickly, in  concert with the emerging AIDS Activist and Queer Activist movement of the day- The New York Lesbian & Gay Experimental Film Festival (NYLGEFF) became a mass cultural event in the LGBT underground. Friday nights were guaranteed sold-out "Lesbian Date Nights" and a counter-culture of new interest in filmmaking and video production emerged around the festival community. MIX soon became very influential on other programming venues, often contributing significant work to The Whitney Biennial, Berlin International Film Festival and other important screens. MIX  exhibited first films by major lesbian, gay and bisexual filmmakers including Todd Haynes' college thesis film, Assassins: A Film Concerning Rimbaud, (which got him his first review, ever), Maria Maggenti's Name Day, the first screening of Paris Is Burning, when it was still on a dual system, Christine Vachon's first film, and many others. Hubbard and Schulman prioritized artists' fees, paying all makers equally regardless of the length of their work, since in experimental film, labor intensivity was not determined by length. They included the first focus on films by and about black gay men in any film Festival. Schulman and Hubbard worked long and hard to get press review coverage for gay experimental work, often holding individual press screenings at the critic's convenience. They hand wheatpasted posters on buildings around the city, and leafleted areas where gay people hung out, like the piers and bars. MIX received no funding and managed to break even on enthusiastic box office support. They showed gay experimental film from other countries and brought films by hand to venues around the US, Europe and Japan. The festival has shown the work of filmmakers such as Barbara Hammer, Nisha Ganatra, Teri Rice, Jonathan Caouette, and Isaac Julien among hundreds more. As makers began to die of AIDS, Jim became active in film preservation, beginning with the film Avocada by the late Bill Vehr of the Ridiculous Theatrical Company. Eventually, he preserved over 2,000 hours of AIDS Film and Video, now available for free viewing at the New York Public Library. During Sarah and Jim's tenure, no one was ever turned away from MIX due to inability to pay. The festival also included Transsexual work from the very first year, with Marguerite Paris's film All Women Are Equal. They found ways of getting works by makers like Chantal Ackerman who did not show in gay festivals. Among many fabulous moments in the festival's history was MIX's screening of Andy Warhol's Blow Job which was attended by Kitty Carlisle Hart in a gown with a tuxedo'd escort.

Paragraph 14: Through this period the US Air Force was developing the SM-65 Atlas, based on rocket technology developed for Navaho. Atlas filled the same performance goals but could do so with total flight times measured in minutes rather than hours, and flying at speeds and altitudes which made them immune to interception, as opposed to merely very difficult to intercept as in the case of Navaho. With the launch of Sputnik 1 in 1957 and the ensuing fears of a missile gap, Atlas received the highest development authority. Navaho continued as a backup, before being canceled in 1958 when Atlas successfully matured.

Paragraph 15: The Irish League was suspended because of the Second World War in 1940, and Newry was not included in the temporary Northern Regional League that took its place. When the Irish League resumed in 1947, it was with twelve rather than fourteen members, Newry and Larne losing their places. Newry played instead in the Irish Intermediate League until 1954, when the league folded due to the loss of members to the Irish League B Division. Newry, along with Dundela and Carrick Rangers failed to be accepted as B Division members and instead joined the Irish Alliance League. Newry were Alliance champions for the following three seasons, before eventually securing admission to the B Division in 1957.

Paragraph 16: Saladin almost immediately faced challenges from the established pro-Fatimid military and civilian elites, who feared that the presence of a foreign Sunni vizier would result in the destruction of their dynasty.  A conspiracy against Saladin by these elites formed in 1169 centered around the black eunuch who served as majordomo of the Caliph's palace.  Saladin uncovered this plot and had the eunuch executed while outside of the city inspecting his properties. This execution triggered an uprising by the black units of the Fatimid military who were both numerous and extremely loyal to the Caliphate.  Saladin quickly and effectively put down this revolt and began restructuring the Fatimid military around the Syrian units who had remained with him in Egypt, both increasing the effectiveness of the military and granting him greater personal control over it. This revolt was not the only challenge of 1169 as Amalric returned and, with support of the Byzantine navy, attempted to take Damietta. Disunity between the attackers forced them to settle for terms and withdraw. But having established a relatively secure position by 1170, Saladin increased his power within Egypt by importing his family (most notably his father, Ayyoub) whom he appointed to important positions throughout the government.  He also sought to test the Fatamid ruler Al-Adid by publicly disrespecting him through actions, such as riding his horse into the courtyard of the Caliph's palace (something only the caliph was allowed to do).  Clearly feeling secure in Egypt Saladin undertook attacks against the Kingdom of Jerusalem in 1170 and succeeded in taking the strategic town of Ayla.  He withdrew early from the 1171 campaign, which was supposed to be an assault on the Crusader fortress of Karak with Nur al-Din Zangi, partially because he wanted to avoid meeting his master and officially due to the death of his father.  Nur al-Din was displeased with these actions and viewed Saladin after Ayyoub's death (Ayyoub was greatly trusted by Nur al-Din and oversaw Egypt's finances on his behalf).  In order to reign in his vassal and gain favor with the Abbasid Caliph, Nur al-Din commanded Saladin to overthrow the Fatimid Dynasty in June 1171.  Unwilling to take more revolts, Saladin waited until Al-Adid's timely death (many suspected that al-Adid was in fact poisoned by Saladin, probably) to officially end the dynasty of the Fatamids, which he did on September 17, 1171 by having the Friday sermons across Egypt said in the name Al-Mustadi, the Abbasid caliph.

Paragraph 17: In 1928, Abdul Sattar Edhi was born in Bantva, a town in the princely state of Bantva Manavadar in British India. In 1939, when he was 11 years old, Edhi's mother suffered a major stroke and became physically and mentally disabled. Shortly after this, Edhi dropped out of school to provide full-time care to his mother. At home, he would cater to her needs by bathing her, taking her to the bathroom, feeding her, and much more. He dedicated the following years of his life caring for her until she died in early 1947. Later that year, during the Partition of India, Edhi and his family fled to the newly established Dominion of Pakistan and settled down in Karachi. The combined experiences of caring for his mother as well as seeing the death and destruction due to the partition motivated Edhi to pursue the establishment of a major humanitarian organization in Pakistan. By 1951, he had bought a small shop in Karachi and opened a free dispensary to aid those in need of humanitarian services. Since then, he began to build up what would eventually become the Edhi Foundation. He established his first welfare centre in 1957 and then the Edhi Trust. Eventually, the Edhi Trust, which functioned on the efforts of a single person and one room became a large nationwide network run on volunteer efforts and donations. The organization has over 300 centres across the country, being present anywhere from big cities to small towns and remote rural areas, primarily focused on providing medical aid, family planning and emergency assistance. Air ambulances allow the network to operate in and access remote areas.

Paragraph 18: In 1925, under the Locarno treaties, it was agreed that France would never send forces into Germany outside of its own occupation zone in the Rhineland and that both Britain and Italy would guarantee the Franco-German border against any attempt to change it from either side. The purpose of the Locarno treaties was to make it impossible for France to occupy the Ruhr as had happened in 1923. From the Polish perspective, the Locarno treaties were a diplomatic disaster, as Britain and Italy refused to make the same guarantees for Germany's eastern border while theoretically both Britain and Italy would declare war on France if the French should move French Army troops into Germany beyond the Rhineland. Under the terms of the Franco-Polish defensive alliance of 1921, France was supposed to start an offensive from the Rhineland occupation zone into the north German plain if Germany should invade Poland, but the Locarno treaties had effectively gutted the provisions of the Franco-Polish alliance. The British Foreign Secretary Austen Chamberlain had pushed for the Locarno treaties as a way for Germany to peacefully revise the Treaty of Versailles in eastern Europe. Chamberlain believed that as long as the Poles had a great power like France as their ally, they would never hand over the areas that Germany was claiming such as the Polish Corridor and Upper Silesia, but if Franco-German relations improved, then that would weaken the Franco-Polish alliance and force the Poles to yield to the force majeure of Germany's power. From the early 1920s onward, British foreign policy aimed to revise aspects of the Treaty of Versailles in favor of the Reich, such as the eastern borders Versailles had imposed on Germany, in exchange for German acceptance of the other aspects of the Versailles settlement of which the British approved. The way that the French largely yielded to British demands at the Locarno conference was seen as a betrayal in Poland. 

Paragraph 19: Within the area of the Omarska mining complex that was used for the camp, the camp authorities generally confined the prisoners in three different buildings: the administration building, where interrogations and killings took place; the crammed hangar building; the "white house", where the inmates were tortured; and on a cement courtyard area between the buildings known as the "pista", an L-shaped strip of concrete land in between, also a scene of torture and mass killings. There was another small building, known as the "red house", where prisoners were sometimes taken in order to be summarily executed. With the arrival of the first detainees, permanent guard posts and anti-personnel landmines were set up around the camp. The conditions in the camp were horrible. In the building known as the "white house", the rooms were crowded with 45 people in a room no larger than . The faces of the detainees were distorted and bloodstained and the walls were covered with blood. From the beginning, the detainees were beaten with fists, rifle butts and wooden and metal sticks. The guards mostly hit the heart and kidneys whenever they decided to beat someone to death. In the "garage", between 150 and 160 people were "packed like sardines" and the heat was unbearable. For the first few days, the detainees were not allowed out and were given only a jerry can of water and some bread. Men would suffocate during the night and their bodies would be taken out the following morning. The room behind the restaurant was known as "Mujo’s Room". The dimensions of this room were about  and the average number of people detained there was 500, most of whom were Bosniaks. The women in the camp slept in the interrogations rooms, which they would have to clean each day as the rooms were covered in blood and pieces of skin and hair. In the camp one could hear the moaning and wailing of people who were being beaten.

Paragraph 20: A minimal system containing a 3850 and 3851 also included four 8-bit data ports, 64 bytes of RAM, and a user program on ROM. This allowed microcontroller applications to be built using just two chips. It also meant that any application that did not fit the simple requirements generally required at least three 40-pin ICs, the CPU, PSU and either the 3852 or 3853 along with additional memory chips. As a result of these tradeoffs, the F8 series found widespread use in the microcontroller market but saw less use as a CPU in general-purpose computers. It is relatively obscure today, as its embedded uses rarely revealed the F8 inside.

Paragraph 21: NASA launched Mercury-Atlas 9, designated Faith 7 and scheduled for a 22-orbit mission, from Cape Canaveral at 8:04 a.m. Eastern Daylight Time (EDT), with astronaut L. Gordon Cooper as the pilot. This was the last mission of the Mercury program. Cooper entered the Mercury spacecraft at 5:33 a.m. the morning of May 15, and it was announced over Mercury Control by Lt. Colonel John A. Powers that "barring unforeseen technical difficulties the launch would take place at 8:00 a.m. e.d.t." Cooper reported that he took a brief nap while awaiting the launch. The countdown progressed without incident until T-11 minutes and 30 seconds when some difficulty developed in the guidance equipment and a brief hold was called. Later, a momentary hold was called at T-19 seconds to determine whether the systems went into automatic sequencing, which occurred as planned. The liftoff was excellent, and visual tracking could be made for about 2 minutes through a cloudless sky. The weather was considerably clearer than on the day before. The Faith 7 flight sequencing - booster engine cut off, escape tower jettison, sustainer engine cut off - operated perfectly and the spacecraft was inserted into orbit at 8:09 a.m. EDT at a speed that was described as almost unbelievably correct. The perigee of the flight was about 100.2 statute miles, the apogee was 165.9, and Faith 7 attained a maximum orbital speed of . During the early part of the flight, Cooper was busily engaged in adjusting his suit and cabin temperatures, which were announced as  and , respectively, well within the tolerable range. By the second orbit, temperature conditions were quite comfortable, so much so, in fact, that the astronaut took a short nap. During the third orbit, Cooper deployed the flashing light experiment successfully and reported that he was able to see the flashing beacon on the night side of the fourth orbit. Thus, Cooper became the first human to launch a satellite (the beacon) while in orbital flight.

Paragraph 22: Elaine Goble’s artistic career started in 1977, she had a solo exhibition at Founders Art Gallery at York University and an exhibition of Oil Paintings at Hart House, Toronto Ontario. In 1978, she participated in the Juried Group Exhibition of Prints, at the Art Gallery of the University of Western Ontario. The mid- late 1980s exhibitions such as: Solo Drawing Exhibition, McPherson Gallery, Ottawa, Ontario, 1985. Group Exhibition, Juried, City Hall, Ottawa, Ontario, 1986. Solo Drawing Exhibition, Nancy Poole’s Studio, Toronto, ON, 1987. About Faces, Group Portrait Exhibition, Nancy Poole’s Studio, Toronto, Ontario, 1988. She ended the decade with A Private Moment, Solo Exhibition of Egg Tempera Paintings, Nancy Poole’s Studio, Toronto, Ontario, 1989.3 In the early 90s, Goble’s career took off with a total of seven exhibitions between 1990-1994. These included: Works on Paper, Juried Group Exhibition, ArtsCount, Ottawa, Ontario, 1990. Invitational, Nancy Poole’s Studio, Toronto, Ontario, 1990. Rediscovering the Art of Painting, Group Exhibition, Nancy Poole’s Studio, Toronto, Ontario, 1991. Solo Exhibition, Robertson’s Gallery, Ottawa, Ontario, 1992. National Fine Art Competition, Group Exhibition, Toronto, Ontario, 1993. The Canadian Figure, Group Exhibition, Nancy Poole’s Studio, Toronto, Ontario, 1993. Portraits, Solo Exhibition of Egg Tempera Paintings, Nancy Poole’s Studio, Toronto, Ontario, 1994. In the late 1990s, Goble began to focus on solo exhibitions which include: The Collection- Ten Years Later, Karsh- Masson Gallery, Ottawa, ON, 1996. Canadian Achievement, Phase 1, Solo Exhibition, Paintings, Drawings, and Photography, New Brunswick Museum, Saint John, New Brunswick, 1996. And continued with Canadian Achievement, Phase II, Solo Exhibition, Paintings, Drawings, and Photography, New Brunswick Museum, Saint John, New Brunswick, 1997. Ending the century with a Portrait Exhibition, Wallacks Galleries, Ottawa, Ontario, 1999. Afterwards, she slowed down in the early 2000s participating in two exhibitions; one being the Solo Exhibition, Gallery Telpaz, Ottawa, Ontario, 2000 and the Group Portrait and Figure Exhibition, Abbozzo Gallery, Oakville, Ontario, 2003. In the mid-late 2000s, she began producing some work that she is most well-known for; Solo Exhibition, Dale Smith Gallery, Ottawa, Ontario, 2005. Promises to Keep, Canadian War Museum, Ottawa, Ontario, 2005-07. Painting of Ground Zero, Canadian War Museum, Ottawa, Ontario, 2007-09. Star Portraits, PTV/ Bravo Production, Documentary, 2009. War, a Family Affair, McMichael Canadian Art Collection, Kleinberg. Kingston Prize Exhibition, Kingston, Ontario, 2009. Finally, an exhibition that caught the attention of the media, Cost of War- The Canadian Homefront, solo exhibition, St. Lawrence College, Brockville, Ontario, 2009. In 2010, she participated in the Juried Exhibition, Art Gallery of Peterborough, Peterborough, Ontario, and in 2011 Goble was commissioned by the National Capital to create Portraits in the Street that was then featured in the National Archives of Canada, Ottawa, Ontario. In 2012, she created one major piece, Double Take: Portraits of Intriguing Canadians, and continued it as a traveling exhibition featured at a variety of locations between the years of 2012-2014. These locations include: McMichael Canadian Art Collection, Kleinburg, Ontario, 2012. Canadian Museum of Civilization (now known as the Canadian Museum of History), Gatineau, Quebec, 2013. The Agnes Etherington Art Centre, Queen's University at Kingston, Ontario, 2013-14, and the Canadian Military Engineers Museum, Oromocto, New Brunswick, 2014. Her most recent works include: The Painted Truth, Wallack Galleries, Ottawa, Ontario, 2015. Group Exhibition: Go Figure at First Canadian Place, Abbozzo Gallery, Toronto, Ontario, 2016. Egg Tempera and Mixed Media Landscape and Architecture Paintings in the Feature Gallery, Abbozzo Gallery, Toronto, Ontario. Agriculture and Food Museum, Ingenium Canada, Ottawa, Ontario, 2016. The Tamworth, Egg Tempera painting showcased at Canada Agriculture and Food Museum, Ingenium Canada, Ottawa, Ontario, 2018. Lastly, a Group Exhibition, Abbozzo Gallery, Toronto, Ontario, 2019.

Paragraph 23: Before the British Raj, the various Mizo Tribes and clans lived in autonomous villages. The chief, in the Mizo and other tribes enjoyed an eminent position in the society. Some chiefs were even raised to the position of a paramount chief or a paramount ruler or king. Under a paramount chief, there were a number of chiefs, of which most of them were brothers and there were few who were adopted as sons by a paramount chief. The position of chieftainship and paramount chieftainship (ruler) is based entirely on hereditary. The youngest son of the paramount chief (king) inherited the land, properties and tributes given to his father and his father's slaves, while the elder brothers got independent rule from their father at different areas of the neighbouring land. His elder brothers who got independent were expected to give warriors to the paramount chief (king) when called for by the paramount chief (king). Warriors of the sons of the paramount chief were called upon, especially when invading other lands. When a tributary chief failed to comply with the request of the paramount chief (king) or failed to pay tributes, their lands were invaded by the combined sons of the paramount chief. Invasion of the British Indian region during the 17th to 19th Century were also carried out by warriors of a paramount chief. These invasions to the British subjects were the result of the British expansion to the elephant hunting grounds of the Mizos. If the paramount chief (king) or chief died before his youngest son was becoming of age, the wife of the paramount chief or wife of the chief would rule the land as regent. Among the Mizo chiefs, the Sailos grew to paramountcy and ruled most of the land of the present day of Mizoram, including various parts of Assam, Manipur, Tripura, Myanmar and Bangladesh. When the British invaded their land, they successfully subjugated every paramount chiefs and chiefs as a result of advancement of the British. The various clans and subclans practiced slash-and-burn, locally called jhum cultivation - a form of subsistence agriculture. The chiefs were the absolute rulers within their territories (ram), the chief and their warriors claimed their territories and also increased their territories by conquest. While claiming their land, the mizo warrior would always invade some parts of modern Assam, Tripura and Manipur. The British Administrators and authors often wrote about the Head-hunting practices of the Mizos. Most of the territories claimed by the mizo chiefs are present in the state of Mizoram. But some territories are in the present Assam, Tripura, Manipur, Bangladesh and Myanmar. There were many instances of tribal raids and head-hunting led by the village chieftains. Head-hunting was a practice which involved ambushing, taking slaves and decapitating heads of fighters from the enemy tribe, bringing it back home, and displaying it at the entrance of the tribal village.

Paragraph 24: Mihai Răzvan Ungureanu (; born 22 September 1968) is a Romanian historian, politician and former Prime Minister of Romania. He was the foreign minister of Romania from 28 December 2004 to 12 March 2007, and he was appointed as Director of the Foreign Intelligence Service later in 2007. Following the resignation of the Emil Boc government  he was appointed Prime Minister serving through April 2012 when his cabinet was dismissed following a parliamentary vote of no-confidence. He was confirmed by the Parliament for a second term as Director of the Foreign Intelligence Service, after President Klaus Iohannis nominated him in June 2015 but he resigned in September 2016, citing health issues.

Paragraph 25: For the 2010 ANZAC Test, Thaiday was selected to play for Australia at second-row forward and was named man of the match in its victory against New Zealand. During his career, Thaiday was often attacked for how he plays the game, most notably his tendency to enter brawls and scuffles late to "protect" his teammates. In the 2010 State of Origin series Thaiday was much maligned by NSW Blues fans for how he played the game. In Game 2, Luke O'Donnell performed a dangerous tackle that sparked an , the likes of which hadn't been seen for several years. Most notable was a moment towards the end of the melee in which O'Donnell could be seen to headbutt and then uppercut Queensland's Dave Taylor, after which Thaiday re-entered the fray and punched O'Donnell twice. Speaking on his involvement Thaiday said, "I saw the headbutt and I made a bee-line straight over to it. That's just not football; fair is fair if you want to punch on with a bloke I'm all for that. But headbutting - that's a bit below the belt". In a 2010 NRL game, between the Broncos and the North Queensland Cowboys, Thaiday again came under criticism, again for entering a fight as the "Third-man-in" (though technically he was fourth). The NRL match review committee chairman Greg McCallum issued Thaiday a warning for his repeat infringements and threatened him with a ban. McCallum said that Thaiday was treading a fine line rushing in to "protect" teammates he felt had been aggrieved. Thaiday continued his consistent performances for Brisbane, cementing his place as a starter in the side. Thaiday scored his first Origin try in Game 1, proving the difference in their 28-24 victory. Queensland would go on to win the series 3-0, the first series sweep since 2000. Thaiday also featured in all 5 of Australia's test matches, all as a starter. Thaiday also featured in the inaugural All-Stars match before the start of the season, lining up for the Indigenous All Stars in their 16-12 victory.

Paragraph 26: Rangers fan discontent was demonstrated during a Championship game against Queen of the South at Ibrox, with fans holding up red cards in the 18th and 72nd minutes, and this was not improved when, on 3 September, it was revealed that Mike Ashley bought the naming rights to Ibrox Stadium for just £1 in a deal with Charles Green in 2012. Concurrently, Rangers former commercial director Imran Ahmad finally succeeded in a bid to have £620,000 of club assets frozen prior to pursuing litigation over an alleged unpaid £500,000 bonus. A few days later the club were granted leave to appeal this decision yet, on 12 September, the club agreed a settlement with Ahmad much to the dismay of fans. As some Rangers supporters groups considered boycotting home matches in protest at the board, it was revealed that Ashley would not be participating in the share offer. Ashley's motivates for not investing became clear in the following month, namely withholding much needed money from the club in order to undermine the board. At the end of the share issue, on 12 September, it was announced that it had raised just over £3m which still £1m short of its minimum target. As the share issue was undertaken in order to allow Rangers to continue to operate into the new year but the failure to reach the targets meant that further funding was required. A few days later, it came to light that Sandy Easdale had met with several investors that had been introduced to him by Rafat Rizvi, a convicted fraudster wanted by Interpol, which led to calls by the Union of Fans for Easdale to resign. However, in a move to demonstrate his strength, Easdale increased his personal shareholding at Rangers to 5.21% on 24 September. On the same day as the club repaid the £1.5m loan to Sandy Easdale and George Letham. The next day, BNP Paribas bought a 5% stake in Rangers making it the fifth-highest shareholder but less than twenty-fours later it was revealed that the transaction was completed on Ashley's behalf thus increasing his stake to 8.92%. Less than a week later, Ashley's holding company, MASH Holdings, called for an EGM to remove chief executive Wallace. This signaled the start of a crucial stage in the boardroom power struggle at Rangers with King appearing to be outflanked by Ashley, who had secured the support of Sandy Easdale, David Sommers as well as the largest shareholder in Rangers, Laxey Partners.

Paragraph 27: The band was started by bassist Dominic Davi, who enlisted Oobliette Sparks on keyboard who would also contribute vocals and Kristin McRory as Tsunami Bomb's original main vocalist after they left the band, Headboard in February 1998. Davi met McRory in late 1997, when she joined Headboard on vocals and had known Sparks from hanging out together at The Phoenix Theater in Petaluma. Sparks had recently left the local Petaluma band, Spacebaby that she had been in with drummer Gabe Lindeman. Calling in favors and using fill-in musicians to round out the line up, Tsunami Bomb played its first show on June 26, 1998 at the Fatty Mocha in Merced, CA with the band Luckie Strike, playing the Phoenix Theater together the next day. Gabriel Lindeman played drums for the band's first few shows, but he did not join the band full-time until 1999. Kristin McRory left Tsunami Bomb in late 1998, and Davi recruited Emily Whitehurst shortly thereafter (Emily's brother, Logan Whitehurst was Davi's roommate at the time). To add mystique and give her a more iconic presence, Davi created the moniker "Agent M" for her to use in the band. Whitehurst was credited as Agent M almost exclusively until the breakup of the band.

Paragraph 28: In the 1937 election, the Congress emerged as the single largest party but short of an absolute majority. The second-largest party was the Bengal Provincial Muslim League (BPML), followed in third place by the Krishak Praja Party. The BPML, Krishak Praja Party and independent legislators formed a coalition government. A. K. Fazlul Huq, a founder of the BPML who later broke away to form the Krishak Praja Party, was elected as parliamentary leader and prime minister. Huq pursued a policy of Hindu–Muslim unity. His cabinet included leading Hindu and Muslim figures, including Nalini Ranjan Sarkar (finance), Bijoy Prasad Singha Roy (revenue), Maharaja Srish Chandra Nandy (communications and public works), Prasanna Deb Raikut (forest and excise), Mukunda Behari Mallick (cooperative credit and rural indebtedness), Sir Khwaja Nazimuddin (home), Nawab Khwaja Habibullah (agriculture and industry), Huseyn Shaheed Suhrawardy (commerce and labour), Nawab Musharraf Hussain (judicial and legislative affairs), and Syed Nausher Ali (public health and local self-government). Huq promoted financial and land reforms with the Bengal Agricultural Debtors' Act (1938), The Money Lenders' Act (1938), and the Bengal Tenancy (Amendment) Act (1938). He introduced the Primary Education Bill to make primary education free and compulsory. He established schools such as the Lady Brabourne College. In 1941, Prime Minister Huq joined the Viceroy's Defence Council in support of Allied war efforts. In a letter to Governor John Herbert, Huq called for the resurrection of a Bengal Army. He wrote "I want you to consent to the formation of a Bengali Army of a hundred thousand young Bengalis consisting of Hindu and Muslim youths on a fifty-fifty basis. There is an insistent demand for such a step being taken at once, and the people of Bengal will not be satisfied with any excuses. It is a national demand which must be immediately conceded". Huq supported the adoption of the Lahore Resolution in 1940. He envisaged Bengal as one of the "independent states" outlined by the resolution.

Paragraph 29: In Naples in 1821, Alphonse de Lamartine, a young poet belonging to a noble French family, ventures on a lampara with local fishermen. A storm hits them; luckily they manage to get to the shores of Procida, where the young man is welcomed into the family of Andrea, one of the fishermen. Here he meets Graziella, a young and beautiful girl with whom a good friendship is born immediately, and he wins the sympathy of the whole family by buying back the boat that was destroyed. One evening he reads some passages from the novel Paolo e Virginia. The story particularly strikes Graziella, who already seems to have experienced her fate. The following morning, Alphonse, pressed by the French consul to return to Paris, promises Graziella that he will return soon. During her absence, she Graziella prepares a coral depicting the hermit's hut, a place on the island where they had spent time, to give to Alphonse. She begs Andrea to take him to the French consulate and hand him over to the young man, who has already left. Afflicted by her prolonged absence, Graziella accepts with consternation her engagement to her cousin Cecco. On the eve of the ceremony, the grandparents go to Naples to buy clothes and there they meet Alphonse, who has just arrived, who is returning with the two elders to Procida. Here is the disconcerting news: Graziella has run away from home. Attempts to find it fail until Alphonse sees the coral on which the hut is depicted. He goes to the place and finds her. There they exchange love for each other, promising to spend a happy life together. A new intervention by the consul forces Alphonse to return to his parents again in France, who dissuade him from marrying a girl not of the same social rank and promising him that his poems will be published by a well-known publisher. Graziella, waiting for her made more and more lasting, slowly wears out. No doctor can identify the disease that both mentally and physically afflicts the girl. At the end of her strength, Graziella writes a farewell letter to Alphonse, arguing that "dying can't be worse than living without him". Having received the letter, he hurriedly rushes to Italy. When he arrives in Procida an unusual silence welcomes him, broken only by the touch of the church bells. The angel who is accompanied to heaven by the procession is the beloved Graziella.

Paragraph 30: In the mid/late 1920's and up to the mid 1930s, Lundquist painted in the styles that were most prevalent at the time. For lecturer Teddy Brunius of Uppsala University, that Lundquist may be seen in earlier works to have referenced Edvard Munch was natural. What separated Lundquist from those who were only imitators of Munch was Lundquist's artistic "independence" and his artistic temperament which was that of a "pioneer". Given his artistic ability to paint in these styles, and his innovative ability to make them his own without imitation, it would have been natural to assume that he would continue to do so. However, in the mid 1930s, he began to alter his style of painting. Lundquist himself felt that he had now reached a level of his own maturity as an artist, and that his works of this period reflected this. He described his new stylistic developments as a, "solid, monumentally simplified and architecturally closed form and a synthesizing color form; the basic element of my artistic attitude." Writer Rolf Söderberg described Lundquist's use of color as vivid and intense. Lundquist had begun to break from an emphasis on the neutral tones, he had begun to use others such as "ice green, violet, orange, flesh red". Jardin du Luxembourg (1933–1934), which was included in Lundquist's debut exhibition in 1934, is a relevant example of his early works. In this present example, the artist has moved away from a rather straightforward attempt at portraying landscapes or still life which he had done earlier in his career. The painting demonstrates the "simplified architecture" and "synthesis of color" that Lundquist cited as part of his artistic process of the period. Brushstrokes in Jardin du Luxembourg are heavy, clearly defined and visible. While they do function to create the final image, they are not logical in relation to the subject matter. As they create the image, they do not support it by subjecting themselves individually to it. The brushstrokes become "individuals" that Lundquist has "applied to describe themselves." This "conflict" of brushstroke, as irrational and independent from subject, would continue to be developed and used by Lundquist during this time and in later works. Kvinnorna vid brunnen, painted in 1938, is also an example of this period. The painting depicts two women in a simplified form but within a cohesive structure. The dark color of the women contrast pointedly against the deep reds surrounding them. Nonetheless, the color and structure form a coherent whole to tell us about what we are viewing. The women are featureless, therefore color tone, composition and structure must guide the viewer's interpretations. While the paintings have elements which evoke the styles of Henri de Toulouse-Lautrec and James Ensor, they also have stylistic elements which were Lundquist's own innovations and which will become his hallmarks. Art critic Olle Granath believed that works like Jardin du Luxembourg were harbingers of what would eventually come to be Lundquist's style for the next fifty years.

Question: "Violently Happy" received generally positive reviews from music critics. Critics described the song as "bittersweet" and "insanely addictive". The title was praised as one of the best song titles of all time. The lyrics were noted for their guttural noises and references to the ocean. The song was seen as a reflection of Björk's embrace of emotional abandon. While some critics felt it was not as immediate as her previous hits, they still praised its moments and its pulsating grind. Overall, "Violently Happy" was seen as a joyful and energetic dance track that aimed to please the listeners on the dance floor.
Answer: Paragraph 8