title: Joe D'Amato

text: Anna Bergman's name was also used for the directorial credit on "Paradiso blu" (1980). Bergman was the main actress, but D'Amato directed the film. Her name was used for the directorial credit because, according to Luigi Cozzi, the producer did not want it to be seen as an erotic film (for which D'Amato was already known at the time).


title: Joe D'Amato

text: Alexandre Borsky, sometimes spelled Alexander or Borski, was the pseudonym of Claudio Bernabei. Bernabei stated in an interview that he created it with Walerian Borowczyk's name in mind. The Borsky pseudonym was used as directorial credit for 14 of the 15 films produced by D'Amato's companies M.A.D. and Cinema 80 from 1980 to 1982. Of these 14 films, Bernabei directed 3, D'Amato 11. In 1993 and 1994, D'Amato briefly reactivated this name as directorial credit for a small number of adult films starring Luana Borgia which he directed while transitioning from softcore to hardcore again. According to an interview he gave in 1995, it was to camouflage his return.


title: Joe D'Amato

text: Lucky Faar (or Farr) Delly, sometimes wrongly listed as a pseudonym of Joe D'Amato, was in reality the pseudonym of Luciano Fardelli, who acted as administrator of D'Amato's production company M.A.D. in 1984 and 1985. It was used as directorial credit for 10 films directed by Franco Lo Cascio; it is unclear in which of these films D'Amato acted as co-director.


title: Joe D'Amato

text: Raf Donato, a variant of Raffaele Donato's name, was used for the directorial credit on "Deep Blood" (1989). According to D'Amato, Donato had planned to direct the film, but only directed the first scene. D'Amato directed the rest of the film.


title: Joe D'Amato

text: According to the actresses who worked with him, D'Amato was sociable, humorous with a sense of irony, amiable, and supportive; to some he appeared like a father. Both Laura Gemser, with whom he worked together for a long time, and Monica Zanchi pointed out his adventurous and playful approach to filmmaking.


title: Joe D'Amato

text: Gemser also remembered that D'Amato rarely got angry, and that when it happened he usually took it with irony; when deeply angered, however, he would shout and curse and become insufferable. She also recalled that, much like herself, D'Amato fell asleep easily and anywhere, even in the breaks between rehearsals. Donatella Donati, his regular assistant since the mid-1970s, recalled this penchant as his biggest flaw; in Cannes, she once found him asleep on the office floor.


title: Joe D'Amato

text: In 1995, Joe D'Amato was a special guest at the London film festival "Eurofest" which took place at the Everyman Cinema, Hampstead, where he gave an onstage interview to Mark Ashworth inbetween screenings of "Stage Fright", "Emanuelle and the Last Cannibals", and "Frankenstein 2000" – the latter a world premiere, followed by a signing session. Parts of the interview can be found on the Severin DVD release of "Emanuelle in Bangkok".


title: Joe D'Amato

text: Posthumously, on 14 April 2006, the Cinémathèque Française in Paris screened a D'Amato double feature from newly acquired theatrical prints under the title "Le sang et la chair" (translation: The Blood and the Flesh), consisting of "Antropophagus" and "Le sexe noir" (both 1980).


title: Joe D'Amato

text: The "Joe D'Amato Horror Festival", under the art direction of Paolo Ruffini, was held for the first time in Pietrasanta in April 2007. It took place a second time in October and November 2014 in Livorno, moderated by Antonio Tentori. Among the guests was D'Amato's son Daniele Massaccesi, who said that it had been above all the passion for cinema – to never stop making films at any costs – that D'Amato had wanted to pass on to the younger generation of filmmakers.


title: Joe D'Amato

text: The "Hofbauer Kongress", which takes place at least once every year since 2010 at the Komm Kino in Nuremberg, Germany, has repeatedly screened D'Amato's films mostly from 35 mm prints, with the 15th and 16th edition of the festival being especially devoted to the filmmaker.


title: Joe D'Amato

text: On 1–3 February 2019, honoring the 20th anniversary of D'Amato's death, the Filmarchiv Austria held a "Tribute to Joe D'Amato" at the Metro Kinokulturhaus in Vienna in which 10 films he directed were shown from original 35 mm prints.


title: Joe D'Amato

text: In 1999, Andreas Schnaas shot a remake of, and homage to, D'Amato's "Antropophagus" entitled "Anthropophagous 2000".


title: Joe D'Amato

text: The Italian film "Hyde's Secret Nightmare" (2011, directed by Domiziano Cristopharo) is dedicated to D'Amato.


title: Surfin' U.S.A.

text: "Surfin' U.S.A." is a song by the American rock band the Beach Boys, credited to Chuck Berry and Brian Wilson. It is a rewritten version of Berry's "Sweet Little Sixteen" set to new lyrics penned by Wilson and an uncredited Mike Love. The song was released as a single on March 4, 1963, backed with "Shut Down". It was then placed as the opening track on their album of the same name.


title: Surfin' U.S.A.

text: The single peaked at number two in the chart of the "Music Vendor" trade paper (within a year renamed "Record World") and at number three on the "Billboard" and "Cash Box" charts. "Billboard" ranked "Surfin' U.S.A." the number 1 song of 1963, Although this song was "Billboard"s original number 1 song of that year, later lists from "Billboard" rank "Sugar Shack" by Jimmy Gilmer and the Fireballs as the number 1 song of 1963. It has since become emblematic of the California Sound.


title: Surfin' U.S.A.

text: The song features Brian Wilson's surfing-related lyrics set to the music and basic lyrical structure of Chuck Berry's "Sweet Little Sixteen". According to Wilson


title: Surfin' U.S.A.

text: When the single was released in 1963, the record only listed Brian Wilson as the composer although the song was published by Arc Music, Chuck Berry's publisher. Later releases, beginning with "Best of The Beach Boys" in 1966, listed Chuck Berry as the songwriter. Later releases list both writers although the copyright has always been owned, since 1963, by Arc Music. Under pressure from Berry's publisher, the Wilsons’ father and manager, Murry Wilson, had given the copyright, including Brian Wilson's lyrics, to Arc Music prior to the release of the single.


title: Surfin' U.S.A.

text: Despite tensions with Berry at the time, Carl Wilson said the Beach Boys "ran into Chuck Berry in Copenhagen and he told us he loves 'Surfin' U.S.A.'."


title: Surfin' U.S.A.

text: In 2015, Mike Love stated that "Surfin' U.S.A." was one of many Beach Boys songs he helped write but for which he did not receive credit. Love claimed he wrote the lyrics to the song but was not able to be credited in his successful lawsuit against Wilson and Almo/Irving Music in 1994 because the copyright was owned by Arc Music. In a 1974 radio interview, Brian said "When we first got going, Mike was a Chuck Berry fan, so ... he and I turned the lyrics into a surfing song."


title: Surfin' U.S.A.

text: In the song the following surfing spots are mentioned, mostly in California, as well as one in Hawaii (possibly two) and one in Australia:


title: Surfin' U.S.A.

text: The "Surfin' U.S.A." single, backed with "Shut Down," was released under Capitol Records in the United States in March 1963. The song peaked on the "Billboard" pop chart at number three, the band's first top ten hit therein (see also "Surfin' Safari"). The B-side charted at number 23. Although the double-sided hit single registered in "Billboard" as number one in chart points at the end of the year (tabulated up to mid November 1963) and was cited by "Billboard" as "best-selling record of the year", in a low-selling year for singles in the US it apparently did not initially sell a million copies—and has never been issued an RIAA Gold Disc award. The song was re-issued in the U.S. as a single in July 1974 backed with "The Warmth of the Sun". That single also hit the "Billboard" Hot 100 chart, peaking at 36.


title: Surfin' U.S.A.

text: "Cash Box" described it as "a pounding 'Sweet Little Sixteen'-flavored rocker...that the Beach Boys belt out with coin-catching enthusiasm" and added that it is a "terrific instrumental showcase."


title: Surfin' U.S.A.

text: In the United Kingdom, the single was released in June 1963. The third single by the band to be issued in the UK, it became the first single to chart. It peaked at 34 (28 in the "New Musical Express").


title: Surfin' U.S.A.

text: In Australia, the single was released in 1963 and peaked at 9, becoming the band's first single to chart in Australia. The single was re-released in Australia in 1974 and again charted, peaking at 66. In Canada and Sweden, the single was released in 1963 and peaked on the charts at 6 in both countries. In July 1963, in the national charts used by "Billboard", it peaked at #9 in Hong Kong, #8 in Austria the following month; in August 1964 at #9 for two weeks in Japan.


title: Surfin' U.S.A.

text: The song was first released on an album as the title track on the band's 1963 album "Surfin' U.S.A." In May, 2003 Capitol issued the song on an EP along with "Surfer Girl", "Don't Worry, Baby", and "The Beach Boys Medley". However, the record failed to make an impact on the charts.


title: Surfin' U.S.A.

text: A demo version of the song featuring only Brian Wilson singing and playing piano was released on the 1993 box set, "". A different demo version, in which Wilson is joined by drums was released on the 2001 archival release "Hawthorne, CA". Both demos feature similar minor lyrical differences from the final recording.


title: Surfin' U.S.A.

text: The instrumental track of the final recording was also released on the "Hawthorne, CA" album. This version of the cut does not 'fade out', but continues on well past the original ending of the song until it ends abruptly.


title: Surfin' U.S.A.

text: After being released the song became a concert regular for the band. The band recorded live versions of "Surfin' U.S.A." on several Beach Boys albums. It was first released on "The Beach Boys in Concert" album. A concert from Anaheim Stadium on July 3, 1976, which featured the song was filmed and produced by Lorne Michaels for a Beach Boys television special which first aired in the United States in August, 1976. The TV special was later released on VHS and DVD as "Good Vibrations Tour". In 1980, a live rendition was recorded, though not released until 2002 on the "" live album. Footage from the concert was also released on VHS and DVD format. A live version was also released on the band's 1993 box set "Good Vibrations: Thirty Years of The Beach Boys".


title: Surfin' U.S.A.

text: The band also performed a live version of the song at the NBC Television Studios in Burbank, California, which was filmed on March 14, 1964. Footage of the concert was later released on the DVD "The Lost Concert". The band performed the song on "The T.A.M.I. Show" which was filmed at the Santa Monica Civic Auditorium on October 28 and 29, 1964, and featured other top artists of the day such as Chuck Berry, Marvin Gaye, The Supremes, James Brown & The Famous Flames and The Rolling Stones. The concert was released as a film in 1964 featuring the Beach Boys performance. However, after the initial showing of the film Brian insisted that the band's performance be cut from the film. Because of a rights dispute the footage of the Beach Boys' performance does not appear in most versions of "The T.A.M.I. Show". The footage was eventually released on the DVD "Sights of Summer" included with the special 2004 edition of "".


title: Surfin' U.S.A.

text: In August 1977, Leif Garrett released his version as the first single from his eponymous debut album. It reached No. 20 on the "Billboard" Hot 100 and No. 4 in Switzerland.


title: Punjab Police (India)

text: The Punjab Police (abbreviated as PP) is the police agency responsible for law enforcement and investigations within the state of Punjab, India. Punjab Police has a broad array of specialized services, including the prevention and detection of crime, maintenance of law and order and the enforcement of the Constitution of India.


title: Punjab Police (India)

text: Its headquarters are located at Jan Marg, Chandigarh. On 7 September 2011, Punjab Police started a video conferencing service to redress problems of NRIs. The present DGP of Punjab Police is Gaurav Yadav IPS. He is an IPS officer of 1992 batch.


title: Punjab Police (India)

text: After Indian independence, Punjab police were initially responsible for the protection of the Indo-Pakistan as well as the Indo-Chinese borders before BSF and ITBP were created.


title: Punjab Police (India)

text: Punjab is the first state of India to have a Rapid Rural Police Response System which provides City PCR-like response service in rural areas. As Punjab Police adopted Computer-Aided-Dispatch (CAD) system for Dial 100 system, 289 four-wheelers and 724 GPS fitted motorcycles are being used.


title: Punjab Police (India)

text: Punjab Police have global positioning system (GPS) tracker and vehicle registration search device equipped highway patrol vehicles.


title: Punjab Police (India)

text: Crime Investigation Agency or CIA staff is a special branch of Punjab Police. The crucial or unsolved criminal cases like smuggling, kidnapping, narcotics, terrorism and murder are handed over to them. This branch of police is known for its ways to interrogate the culprit who committed the crime.


title: Punjab Police (India)

text: Punjab is the first state in the country to launch a night policing scheme with independent cadre, command and structure of a 4,000 strong police force for prevention of offences at night time.


title: Punjab Police (India)

text: Punjab Bureau of Investigation was set up in 2019 with 4521 dedicated new posts. Punjab is the first state of India to form a Bureau of Investigation, and separated law & order duties from investigation functions by bringing all investigation staff of 7,772 under a unified wing command.


title: Punjab Police (India)

text: The Bureau of Investigation conducts investigation into civil and criminal cases registered at various police stations and is equipped with:


title: Punjab Police (India)

text: The headquarters of the Punjab Armed Police are located at Jalandhar while the India Reserve Battalions are stationed at Sangrur, Amritsar, Patiala, Ludhiana and Jalandhar and the Punjab Commando Police at Bahadurgarh (Patiala) and S.A.S. Nagar (Mohali).


title: Punjab Police (India)

text: PP was equipped with .303 rifles, AK-47,AK-56 and 561 Sten Guns but modernisation with advanced weapons is now taking place.


title: Punjab Police (India)

text: Punjab Police have 3083 vehicles and patrol cars like Mahindra Scorpio Getaways<ref name="IIFL - BSE/NSE, India Stock Market Recommendations, Live Stock Markets, Sensex/Nifty, Commodity Market, Financial News, Mutual Funds 2010"></ref> and Maruti Gypsys.<ref name="http://www.hindustantimes.com/ 2013"></ref> PP also have motorcycles equipped with GPS and Multi Utility Vehicles equipped with GPS and CCTV cameras.


title: Punjab Police (India)

text: Punjab Police have a dedicated cybercrime cell to deal with cybercrime in the state headed by ADGP ranked police officer having an office in Phase 4, S.A.S Nagar.


title: Punjab Police (India)

text: Punjab Police Special Weapons and Tactics (SWAT) team was formed in 2010. They are usually tasked with protection duties. They are highly trained on the lines of National Security Guard by Israel's Mossad through private company Athena Security, deployed by the Punjab Government. All the commandos are under 28 years of age, thus making them fit and capable of tasks meant for commandos. Their main work is to fight against any terrorist attack if it occurs in Punjab State. They have been trained exclusively in Krav Maga, room intervention, close and open techniques and other secret tactics.


title: Punjab Police (India)

text: The SWAT is provided with various state-of-art equipment and the latest technology. The teams are provided with:


title: Punjab Police (India)

text: Punjab SWAT handled counter-terrorism operation at Dina Nagar Police Station in a 2015 Gurdaspur attack by killing all three suspected Lashkar-e-Taiba terrorists.


title: Punjab Police (India)

text: Members of the Punjab Police have been frequently portrayed in films. Some of the prominent ones are:


title: President of Zambia

text: The president of Zambia is the head of state and the head of government of Zambia. The office was first held by Kenneth Kaunda following independence in 1964. Since 1991, when Kaunda left the presidency, the office has been held by seven others: Frederick Chiluba, Levy Mwanawasa, Rupiah Banda, Michael Sata, Edgar Lungu and the current president Hakainde Hichilema, who won the 2021 presidential election. In addition, acting president Guy Scott served in an interim capacity after the death of President Michael Sata.


title: President of Zambia

text: Since 31 August 1991 the president is also the head of government, as the position of Prime Minister was abolished in the last months of Kaunda's presidential term following negotiations with opposition parties.


title: President of Zambia

text: The president is elected for a term of five years. Since 1991, the officeholder has been restricted to two consecutive terms.


title: President of Zambia

text: When the British colony of Northern Rhodesia was separated from Southern Rhodesia and British South Africa Company rule, the head of state was the British Monarch represented in the colony by the Governor of Northern Rhodesia who exercised executive power as head of state and government. In the 1964 Northern Rhodesian general election, the office of Prime Minister of Northern Rhodesia was created to become the head of government ahead of independence. On 19 May 1964, the Secretary of State for Commonwealth Relations Duncan Sandys announced that Northern Rhodesia would become independent under a President. The election for the first President would be held by secret ballot amongst the elected members of the Legislative Council.


title: President of Zambia

text: Upon independence and the renaming of the country as Zambia, Prime Minister Kenneth Kaunda was elected as the first President. The office of Prime Minister was also abolished making the presidency an executive post. Initially, the country would be governed as a multi-party democracy. However, following the African National Congress integrating with United National Independence Party (UNIP), President Kaunda announced that the Constitution of Zambia would be changed to turn the country into a one-party state in 1973 with UNIP as the only legal party with all others banned. Kaunda claimed this was done to discourage tribalism. However, the constitution also restored the office of Prime Minister as head of government. In the 1973 Zambian general election, voters were only able to vote for the UNIP sponsored Kaunda and their only options were to vote if they approved or rejected his candidacy.


title: President of Zambia

text: Kaunda was re-elected unanimously at each election until 1991. During the 1980s, pressures increased for the multi-party ban to be rescinded. After negotiations with the Movement for Multi-Party Democracy (MMD) in 1990, President Kaunda signed a constitutional amendment legalising political parties other than UNIP. The office of Prime Minister was abolished again and the powers returned to the President. In the 1991 Zambian general election, Kaunda was defeated by the MMD's Frederick Chiluba. Kaunda agreed to hand over the presidency peacefully, becoming the second African leader to do so after Mathieu Kérékou of Benin.


title: President of Zambia

text: In 1996, President Chiluba allegedly discovered a plot by members of UNIP to carry out a coup d'état and declared a state of emergency to arrest UNIP members. However the Supreme Court of Zambia declared the emergency declaration was not valid and lifted the state of emergency and released those arrested. Later in the year, Chiluba amended the constitution stating that only people who had one parent born in Zambia or Northern Rhodesia could run for president. This amendment was ostensibly targeted at blocking Kaunda from standing for president again as his parents had been born in Nyasaland (modern day Malawi).


title: President of Zambia

text: Due to a two-term limit in the constitution, Levy Mwanawasa was selected by Chiluba as the MMD's candidate to succeed him. Mwanawasa won the 2001 Zambian general election but his victory was marred by accusations of electoral fraud by opposition parties. Following legal disputes, the Supreme Court eventually ruled in 2005 that though the poll was "flawed", there were not enough errors to justify overturning the result. Mwanawasa won re-election in 2006. He died in 2008 and was replaced by Rupiah Banda. In the 2011 Zambian general election Rupiah was defeated by the Patriotic Front's (PF) Michael Sata.


title: President of Zambia

text: Sata died in office in 2014. Accordingly, his Vice-President Guy Scott became president in an acting capacity. This made Scott the first white head of state of an African country since South Africa's F. W. de Klerk who left office in 1994 following the end of apartheid. However, because his parents were not born in Zambia, due to the constitution he was only able to act as president for 90 days and could not stand for election. At the 2015 Zambian presidential election, the PF's Edgar Lungu won the presidency and retained it a year later in the 2016 general election under the amended constitution.


title: President of Zambia

text: There are four most notable changes affecting the presidency in this amendment assented to by Edgar Lungu in January 2016, most of which are found in Part VII(7) of the constitution . Firstly, Article 100 Section 1 a) effectively removal the parental clause requiring presidential and vice presidential candidates to have at least one parent born in Zambia and the harmonisation of Presidential and Vice-presidential eligibility in Article 110 Section 2. Secondly, Article 101 Sections 1, 2 3 (a & b) and 8 signalled the shift from a First-Past the Post system to a Two-round system in which over 50% of valid votes cast are required for a president to win. In the event that this does not happen a second round will be held within 37 days between the two leading candidates to which the 50% + 1 rule will determine the winner on that second round. The third notable change is in the introduction of the running mate clause in Article 110 Sections 1, 2 and 3. This saw the President and Vice President directly elected on the same ticket as opposed to before where the President who once elected appoints and dismisses the vice president executively. Lastly, the fourth change was in Article 100 Section 1 j) which requires an aspiring presidential candidates to prove to have at least 100 registered voters in each of the ten provinces to succefully file for nominations with the Electoral Commission of Zambia. In 2020, Lungu attempted to change the constitution to allow the President to change electoral laws and take control of Zambia's monetary policy. However the controversial Bill 10 failed after the Parliament of Zambia did not vote in favour with the required 2/3 majority.


title: Scum (video game)

text: Scum is an upcoming multiplayer online survival game, developed by Croatian studio Gamepires, available under the Steam Early Access program. The game is described as a "prison riot survival game" and will feature an open world. It entered Steam's early access program on 29 August 2018, with a full release initially scheduled for sometime in 2021. , the game is still in early access. The game uses Unreal Engine 4.


title: Scum (video game)

text: The gameplay takes place in Croatia where up to 80 players per server will attempt to survive and get off the island by first removing the implant which prevents them from leaving. The player will earn fame points through participation in various action-driven events or simply by surviving in a hostile environment. These fame points allow the player to be cloned back in case of death, and used as currency to purchase or trade in various safe zones. Players will be able to fortify existing structures and points in order to secure positions or store items when needed.


title: Scum (video game)

text: Characters possess four main attributes: strength, dexterity, constitution, and intelligence. These help players create characters to suit their preferred playing style. It aims to simulate the human body, and thus has an interface called the "BCU monitor" to track character's calories, vitamins, health, and other stats. Players can choose to ignore these elements of the game, or can delve deep into these systems in order to improve the character's performance (speed, stamina, carry weight and so on). Another aspect is digestion; for instance, if a character gets all of their teeth knocked out, they will have to find a way to liquefy food to digest it. Toilet activities leave physical evidence that could be used to track that player. Aspects such as combat depend on the player's own skill, but also are affected by stamina, health, and so on. Wetness, smell, medicine, cooking, hacking, crafting, hunting, and poison also play a major role in the gameplay.


title: Scum (video game)

text: Players can easily alternate between third and first-person perspectives, yet prevents third-person peeking by hiding anything not visible from the first-person.


title: Scum (video game)

text: SCUM also offers a realistic nightvision that simulates photons hitting the lenses and the infrared light emitting from the goggles.


title: Scum (video game)

text: "Scum" was first announced in August 2016. The game was released into early access on August 29, 2018, its current stage is 0.8 and is currently half way to its release.


title: Scum (video game)

text: The game was named as one of the best indie games of PAX East 2018 by Game Informer. It received similar attention from GameSpot, listing it as among the most noteworthy games of PAX East 2018. The game sold over 250,000 copies within its first 24 hours in early access, 700,000 in its first week, and over one million sales by the third week.


title: Timely Comics

text: Timely Comics is the common name for the group of corporations that was the earliest comic book arm of American publisher Martin Goodman, and the entity that would evolve by the 1960s to become Marvel Comics.


title: Timely Comics

text: Founded in 1939, during the era called the Golden Age of comic books, "Timely" was the umbrella name for the comics division of pulp magazine publisher Goodman, whose business strategy involved having a multitude of corporate entities all producing the same product. The company's first publication in 1939 used Timely Publications, based at his existing company in the McGraw-Hill Building at 330 West 42nd Street in New York City. In 1942, it moved to the 14th floor of the Empire State Building, where it remained until 1951. In 2016, Marvel announced that Timely Comics would be the name of a new imprint of low-priced reprint comics.


title: Timely Comics

text: In 1939, with the emerging medium of comic books proving hugely popular, and the first superheroes setting the trend, pulp-magazine publisher Martin Goodman founded Timely Publications, basing it at his existing company in the McGraw-Hill Building at 330 West 42nd Street in New York City. Goodman – whose official titles were editor, managing editor, and business manager, with Abraham Goodman officially listed as publisher – contracted with the newly formed comic-book "packager" Funnies, Inc. to supply material.


title: Timely Comics

text: His first effort, "Marvel Comics" #1 (Oct. 1939), featured the first appearances of writer-artist Carl Burgos' android superhero, the Human Torch, and Paul Gustavson's costumed detective the Angel. As well, it contained the first published appearance of Bill Everett's anti-hero Namor the Sub-Mariner, created for the unpublished movie-theater giveaway comic "Motion Picture Funnies Weekly" earlier that year, with the eight-page original story now expanded by four pages.


title: Timely Comics

text: Also included were Al Anders' Western hero the Masked Raider; the jungle lord Ka-Zar the Great, with Ben Thompson beginning a five-issue adaptation of the story "King of Fang and Claw" by Bob Byrd in Goodman's pulp magazine "Ka-Zar" #1 (Oct. 1936); the non-continuing-character story "Jungle Terror", featuring adventurer Ken Masters, drawn and possibly written by Art Pinajian under the quirky pseudonym "Tohm Dixon" or "Tomm Dixon" (with the published signature smudged); "Now I'll Tell One", five single-panel, black-and-white gag cartoons by Fred Schwab, on the inside front cover; and a two-page prose story by Ray Gill, "Burning Rubber", about auto racing. A painted cover by veteran science-fiction pulp artist Frank R. Paul featured the Human Torch, looking much different from the interior story.


title: Timely Comics

text: That initial comic, cover-dated October 1939, quickly sold out 80,000 copies, prompting Goodman to produce a second printing, cover-dated November 1939. The latter is identical except for a black bar over the October date in the inside-front-cover indicia, and the November date added at the end. That sold approximately 800,000 copies. With a hit on his hands, Goodman began assembling an in-house staff, hiring Funnies, Inc. writer-artist Joe Simon as editor. Simon brought along his collaborator, artist Jack Kirby, followed by artist Syd Shores. Goodman then formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.


title: Timely Comics

text: There is evidence that "Red Circle Comics" – a name that would be used for an unrelated imprint of Archie Comics in the 1970s and 1980s – may have been a term in use as Goodman prepared to publish his first comic book. Historian Les Daniels, referring to Goodman's pulp-magazine line, describes the name Red Circle as "a halfhearted attempt to establish an identity for what was usually described loosely as 'the Goodman group' [made] when a new logo was adopted: a red disk surrounded by a black ring that bore the phrase 'A Red Circle Magazine.' But it appeared only intermittently, when someone remembered to put it on [a pulp magazine's] cover. Historian Jess Nevins, conversely, writes that, "Timely Publications [was how] Goodman's group [of companies] had become known; before this, it was known as 'Red Circle' because of the logo that Goodman had put on his pulp magazines..." The Grand Comics Database identifies 23 issues of Goodman comic books from 1944 to 1959 with Red Circle, Inc. branding, and a single 1948 issue under Red Circle Magazines Corp.


title: Timely Comics

text: "Marvel Comics" was rechristened "Marvel Mystery Comics" with issue #2 (Dec. 1939); the magazine would continue under that title through #92 (June 1949) before becoming "Marvel Tales" through #159 (Aug. 1957). Timely began publishing additional series, beginning with "Daring Mystery Comics" #1 (Jan. 1940), "Mystic Comics" #1 (March 1940), "Red Raven Comics" #1 (Aug. 1940), "The Human Torch" #2 (premiering Fall 1940 with no cover date and having taken over the numbering from the unsuccessful "Red Raven"), and "Captain America Comics" #1 (March 1941). Going on sale in December 1940, a year before the bombing of Pearl Harbor and already showing the hero punching Hitler, that first issue sold nearly one million copies.


title: Timely Comics

text: With the hit characters Human Torch and Sub-Mariner now joined by Simon & Kirby's seminal patriotic hero Captain America, Timely had its "big three" stars of the era fans and historians call the Golden Age of Comic Books. Rival publishers National Comics Publications / All-American Comics, the sister companies that would evolve into DC Comics, likewise had their own "big three": Superman and Batman plus the soon-to-debut Wonder Woman. Timely's other major competitors were Fawcett Publications (with Captain Marvel, introduced in 1940); Quality Comics (with Plastic Man and Blackhawk, both in 1941); and Lev Gleason Publications (with Daredevil, introduced in 1940 and unrelated to the 1960s Marvel hero).


title: Timely Comics

text: Other Timely characters, many seen both in modern-day retroactive-continuity appearances and in flashbacks, include the Angel, the next-most-popular character in terms of number of appearances; the Destroyer, an early creation of future Marvel chief Stan Lee; super-speedster the Whizzer; the flying and super-strong Miss America; the original Vision, who inspired Marvel writer Roy Thomas in the 1960s to create a Silver Age version of the character; and the Blazing Skull and the Thin Man, two members of the present-day New Invaders.


title: Timely Comics

text: Just as Captain America had his teenage sidekick Bucky and DC Comics' Batman had Robin, the Human Torch acquired a young partner, Toro, in the first issue of the Torch's own magazine. The Young Allies—one of several "kid gangs" popular in comics at the time—debuted under the rubric the Sentinels of Liberty in a text story in "Captain America Comics" #4 (June 1941) before making it to the comics pages themselves the following issue, and then eventually into their own title.


title: Timely Comics

text: Seeing a natural "fire and water" theme, Timely was responsible for comic books' first major crossover, with a two-issue battle between the Human Torch and the Sub-Mariner that spanned "Marvel Mystery Comics" #8–9—telling the story from the two characters' different perspectives.


title: Timely Comics

text: After the Simon & Kirby team moved to DC late 1941, having produced "Captain America Comics" through issue #10 (Jan. 1942), Al Avison and Syd Shores became regular pencilers on the title, with one generally inking over the other. Stan Lee (né Stanley Lieber), a cousin of Goodman's by marriage who had been serving as an assistant since 1939, at age 16, was promoted to interim editor just shy of his 19th birthday. Showing a knack for the business, Lee stayed on for decades, eventually becoming Marvel Comics' publisher in 1972. Fellow Timely staffer Vincent Fago would substitute during Lee's World War II military service.


title: Timely Comics

text: The staff at that time, Fago recalled, was, "Mike Sekowsky. Ed Winiarski. Gary Keller was a production assistant and letterer. Ernest Hart and Kin Platt were writers, but they worked freelance; Hart also drew. George Klein, Syd Shores, Vince Alascia, Dave Gantz, and Chris Rule were there, too".


title: Timely Comics

text: In 1942, Goodman moved his publisher operations to the 14th floor of the Empire State Building, where it remained until 1951.


title: Timely Comics

text: The superheroes were the products of what Timely referred to as the "adventure" bullpen. The company also developed an "animator" bullpen creating such movie tie-in and original talking animal comics as "Terrytoons Comics", "Mighty Mouse", "All Surprise Comics", "Super Rabbit Comics", "Funny Frolics", and "Funny Tunes," renamed "Animated Funny Comic-Tunes". Former Fleischer Studios animator Fago, who joined Timely in 1942, headed this group, which consisted through the years of such writer/artists as Hart, Gantz, Klein, Platt, Rule, Sekowsky, Frank Carin (né Carino), Bob Deschamps, Chad Grothkopf, Pauline Loth, Jim Mooney, Moss Worthman a.k.a. Moe Worth, and future "Mad" magazine cartoonists Dave Berg and Al Jaffee.


title: Timely Comics

text: Features from this department include "Dinky" and "Frenchy Rabbit" in "Terrytoons Comics"; "Floop and Skilly Boo" in "Comedy Comics"; "Posty the Pelican Postman" in "Krazy Komics" and other titles; "Krazy Krow" in that character's eponymous comic; "Tubby an' Tack", in various comics; and the most popular of these features, Jaffee's "Ziggy Pig and Silly Seal" and Hart's "Super Rabbit", the cover stars of many different titles. Timely also published one of humor cartoonist Basil Wolverton's best-known features, "Powerhouse Pepper". The first issue, cover-dated January 1943, bore no number, and protagonist Pepper looked different from his more familiar visualization (when the series returned for four issues, May–Nov. 1948) as the bullet-headed naif in the striped turtleneck sweater.


title: Timely Comics

text: Additionally, Timely in 1944 and 1945 initiated a sitcom selection of titles aimed at female readers: "Millie the Model", "Tessie the Typist" and "Nellie the Nurse". The company continued to pursue female readers later in the decade with such superheroines as Sun Girl; the Sub-Mariner spin-off Namora; and Venus, the Roman goddess of love, posing as a human reporter. "Patsy Walker", "Millie the Model", "Tessie the Typist" and other Timely humor titles also included Harvey Kurtzman's "Hey Look!" one-pagers in several issues.


title: Timely Comics

text: Future Comic Book Hall of Fame artist Gene Colan, a Marvel mainstay from 1946 on, recalled that, "The atmosphere at Timely was very good, very funny. ... [I worked in] a big art room and there were about 20 artists in there, all stacked up. Syd [Shores] was in the last row on my side, and there was another row on the other side. Dan DeCarlo was there, several other people – Vince Alascia was an inker; Rudy LaPick sat right behind me," with Mike Sekowsky "in another room".


title: Timely Comics

text: Yet after the wartime boom years – when superheroes had been new and inspirational, and comics provided cheap entertainment for millions of children, soldiers and others – the post-war era found superheroes falling out of fashion. Television and mass market paperback books now also competed for readers and leisure time. Goodman began turning to a wider variety of genres than ever, emphasizing horror, Westerns, teen humor, crime and war comics, and introducing female heroes to try to attract girls and young women to read comics. In 1946, for instance, the superhero title "All Select Comics" was changed to "Blonde Phantom Comics", and now starred a masked secretary who fought crime in an evening gown. That same year, "Kid Komics" eliminated its stars and became "Kid Movie Comics". "All Winners Comics" became "All Teen Comics" in January 1947. Timely eliminated virtually all its staff positions in 1948.


title: Timely Comics

text: The precise end-point of the Golden Age of comics is vague, but for Timely, at least, it appears to have ended with the cancellation of "Captain America Comics" at issue #75 (Feb. 1950) – by which time the series had already been "Captain America's Weird Tales" for two issues, with the finale featuring merely anthological horror/suspense tales and no superheroes. "Sub-Mariner Comics" and "Human Torch Comics" had already ended with #32 (June 1949) and #35 (March 1949) respectively, and the company's flagship title, "Marvel Mystery Comics", starring the Angel, ended that same month with #92, becoming the horror anthology "Marvel Tales" beginning with issue #93 (Aug. 1949). Goodman began using the globe logo of the Atlas News Company, the newsstand-distribution company he owned, on comics cover-dated Nov. 1951.


title: Timely Comics

text: In 2015, Marvel registered the trademark "Timely Comics". The following year, Marvel announced that Timely Comics would be the name of a new imprint of low-priced reprint comics.


title: Timely Comics

text: Publisher Martin Goodman's business strategy involved having his various magazines and comic books published by a number of companies all operating out of the same office and with the same staff. One of these shell companies under which Timely Comics was published was named Marvel Comics by at least "Marvel Mystery Comics" #55 (May 1944). As well, some comics' covers, such as "All Surprise Comics" #12 (Winter 1946–47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961.


title: Timely Comics

text: "List of characters making multiple appearances, either in Timely Comics solely or in Timely and subsequent companies Atlas Comics and Marvel Comics".


title: 1994 FIFA World Cup qualification

text: The 1994 FIFA World Cup qualification was a series of tournaments organised by the six FIFA confederations. The 1994 FIFA World Cup featured 24 teams with one place reserved for the host nation, United States, and one place for the defending champions, Germany. The remaining 22 places were determined by a qualification process, in which 147 teams, from the six FIFA confederations, competed. Most of the successful teams were determined within these confederations, with a limited number of inter-confederation play-offs occurring at the end of the process.


title: 1994 FIFA World Cup qualification

text: Fifteen teams withdrew: Liechtenstein, Cuba, Gambia, Burkina Faso, Liberia, Malawi, Mali, Mauritania, São Tomé and Príncipe, Sierra Leone, Sudan, Tanzania, Uganda, Myanmar and Western Samoa, and three teams were excluded: Yugoslavia and Libya due to UN sanctions, and Chile for the El Maracanazo cheating incident during 1990 qualification.


title: 1994 FIFA World Cup qualification

text: A total of 130 teams played at least one qualifying match. A total of 497 qualifying matches were played, and 1446 goals were scored (an average of 2.91 per match).


title: 1994 FIFA World Cup qualification

text: The first qualification match, between Dominican Republic and Puerto Rico, was played on 21 March 1992, and the Puerto Rican forward Marcos Lugris scored the first goal in qualification. Qualification ended on 17 November 1993, when European qualification ended and the OFC–CONMEBOL play-off match was played. Eighteen of FIFA's twenty-four top-ranked countries eventually qualified.


title: 1994 FIFA World Cup qualification

text: For the first time, three teams qualified from the African zone, because of its performance in the previous tournament. The 24 spots available in the 1994 World Cup were distributed among the continental zones as follows:


title: 1994 FIFA World Cup qualification

text: UEFA, AFC and CAF have a guaranteed number of places, whereas the number of qualifiers from other confederations is dependent on play-offs between OFC's first-placed team and CONCACAF's second-placed team and the winner of this fixture against CONMEBOL's fourth-placed team.


title: 1994 FIFA World Cup qualification

text: After the first round of 1994 FIFA World Cup finals, the percentage of teams from each confederation that passed through to the round of 16 was as follows:


title: 1994 FIFA World Cup qualification

text: For FIFA World Cup qualifying stages using a league format, the method used for separating teams level on points is the same for all Confederations. If teams are even on points at the end of group play, the tied teams will be ranked by:


title: 1994 FIFA World Cup qualification

text: For FIFA World Cup qualifying stages using a home-and-away knockout format, the team that has the higher aggregate score over the two legs progresses to the next round. In the event that aggregate scores finish level, the away goals rule is applied, i.e. the team that scored more goals away from home over the two legs progresses. If away goals are also equal, then thirty minutes of extra time are played, divided into two fifteen-minutes halves. The away goals rule is again applied after extra time, i.e. if there are goals scored during extra time and the aggregate score is still level, the visiting team qualifies by virtue of more away goals scored. If no goals are scored during extra time, the tie is decided by penalty shoot-out.


title: 1994 FIFA World Cup qualification

text: Qualification for AFC teams consisted of two rounds. Round one saw the teams divided into 6 groups, each team playing the others in their group twice. The winner of each group then went into a final group where they played each other once.


title: 1994 FIFA World Cup qualification

text: The qualification process began with 29 national teams vying for two spots. Saudi Arabia and Korea Republic qualified.


title: 1994 FIFA World Cup qualification

text: Qualification for CAF teams also consisted of two rounds. Round one saw the teams divided into 9 groups, each team playing the others in their group twice. The winners of these groups then went into three final groups where they played each other twice.


title: 1994 FIFA World Cup qualification

text: The qualification process began with 40 national teams vying for three spots. Nigeria, Morocco and Cameroon qualified.


title: 1994 FIFA World Cup qualification

text: There were three rounds of play for CONCACAF teams. Mexico and Canada received byes and advanced to the second round directly. The remaining teams were divided into Caribbean and Central American zones. In the Caribbean zone, 14 teams played in knockout matches on a home-and-away basis to determine three winners advancing to the second round. In the Central American zone, the six teams were paired up to play knockout matches on a home-and-away basis. The winners advanced to the second round.


title: 1994 FIFA World Cup qualification

text: In the second round, the eight teams were divided into two groups of four teams each. They played against each other on a home-and-away basis. The group winners and runners-up advanced to the final round.


title: 1994 FIFA World Cup qualification

text: In the final round, the four teams played against each other on a home-and-away basis. The group winner qualified. The runner-up advanced to the CONCACAF–OFC intercontinental play-off. Mexico took the guaranteed spot and Canada qualified for the play-off.


title: 1994 FIFA World Cup qualification

text: Nine CONMEBOL teams entered the competition (Chile was banned by FIFA due to the 1989 Maracanazo incident). The nine teams were divided into two groups. The teams played against each other on a home-and-away basis. Group A had one guaranteed place and one play-off spot, while Group B had two spots for the finals. Colombia, Brazil and Bolivia qualified automatically and Argentina qualified for the play-off.


title: 1994 FIFA World Cup qualification

text: Qualification for OFC teams consisted of two rounds. Seven teams entered initially and were divided into two groups, but Western Samoa withdrew. The two group winners then played against each other on a home-and-away basis. The winner advanced to the CONCACAF–OFC intercontinental play-off. Australia won the tie and advanced.


title: 1994 FIFA World Cup qualification

text: 38 were initially involved in UEFA qualifying, but Liechtenstein withdrew and Yugoslavia was suspended.


title: 1994 FIFA World Cup qualification

text: The thirty-six teams were divided into six groups: one group of five teams, four groups of six teams each, and one group of seven teams. The teams played against each other on a home-and-away basis. The group winners and runners-up qualified.


title: 1994 FIFA World Cup qualification

text: Italy, Switzerland, Norway, Netherlands, Spain, Ireland, Romania, Belgium, Greece, Russia, Sweden, and Bulgaria all qualified.


title: 1994 FIFA World Cup qualification

text: For the first time ever, there were two rounds of play in the inter-confederation play-offs. The teams from CONCACAF and OFC first played each other on a home-and-away basis. The winner then played against the team from CONMEBOL on a home-and-away basis. The winner qualified.


title: Stegodon

text: Stegodon ("roofed tooth" from the Ancient Greek words , , 'to cover', + , , 'tooth' because of the distinctive ridges on the animal's molars) is an extinct genus of proboscidean, related to elephants. It was originally assigned to the family Elephantidae along with modern elephants but is now placed in the extinct family Stegodontidae. Like elephants, "Stegodon" had teeth with plate-like lophs that are different from those of more primitive proboscideans like gomphotheres and mastodons. The oldest fossils of the genus are found in Late Miocene strata in Asia, likely originating from the more archaic "Stegolophodon," shortly afterwards migrating into Africa. While the genus became extinct in Africa during the Pliocene, "Stegodon" remained widespread in Asia until the end of the Pleistocene.


title: Stegodon

text: Some species of "Stegodon" were amongst the largest proboscideans. "S. zdanskyi" is known from an old male (50-plus years old) from the Yellow River that is tall and would have weighed approximately in life. It had a humerus long, a femur long, and a pelvis wide. Size varies across species, large stegodonts are comparable in size with modern elephants. Aside from "S. zdanskyi," species like "S. ganesha, S. miensis, S. orientalis, S. elephantoides" and "S. kaisensis" are also relatively large bodied. Large stegodonts usually occur in the mainland. There also exist medium sized stegodonts present in large islands like those of Japan and Java. These stegodonts may include: "S. aurorae, S. trigonocephalus, S. insignis" and "S. florensis florensis". Stegodonts that live in smaller islands usually result in further dwarfism.


title: Stegodon

text: "S. florensis insularis" is an extinct subspecies of "Stegodon" endemic to the island of Flores, Indonesia, and an example of insular dwarfism. The direct ancestor of "S. florensis insularis" is the larger-bodied "S. florensis florensis", from Early Pleistocene and early Middle Pleistocene sites on Flores. Remains of "S. florensis insularis" are known from the cave of Liang Bua.


title: Stegodon

text: Similar to modern-day elephants, stegodonts were likely good swimmers, as their fossils are frequently encountered on Asian islands (such as Sulawesi, Flores, Timor, Sumba in Indonesia; Luzon and Mindanao in the Philippines; Taiwan; and Japan), all locations not connected by land bridges with the Asian continent even during periods of low sea level (during the cold phases of the Pleistocene). A general evolutionary trend in large mammals on islands is island dwarfing. Many among the dwarfed species of Stegodonts came from the lineage of "S. ganesha, S. zdanskyi" and "S. elephantoides". The smallest dwarf species known is "S. sumbaensis" from Sumba, with an estimated body mass of 250 kg. The slightly larger "S. sondaari", known from Early Pleistocene layers on the Indonesian island of Flores, had an estimated body weight of between 355 and 650 kg. Another estimate gives a shoulder height of and a weight of . Philippine pygmy stegodonts also have a small stature bigger than or around the size of "S. sondaari" and "S. sompoensis" of Celebes, with "S. mindanensis" having a projected weight of 400" "kg. "S. luzonensis" and "S. sompoensis" have estimated masses of around 1,300 kg and 1,000 kg respectively. A medium- to large-sized stegodont, "S. florensis", with a body weight of about 1,700 kg, appeared about 850,000 years ago, and then also evolved into a dwarf form, "S. f. insularis", with an estimated body mass of about 570 kg. Another estimate gives a shoulder height of and a weight of . The latter was contemporaneous with, and hunted by, the dwarf hominin "Homo floresiensis", and disappeared about 49,600 years ago, earlier than initially thought. Dwarf stegodonts were believed to be the main prey of the still-extant Komodo dragon before modern humans introduced their modern main prey in its range, banded pig, rusa deer, and water buffalo.


title: Stegodon

text: Like modern elephants, but unlike more primitive probscideans, "Stegodon" is thought to have chewed using a proal movement (a forward stroke from the back to the front) of the lower jaws. Based on dental microwear analysis, populations of "Stegodon" from the Pleistocene of China and Southeast Asia were found to be browsers, with clear niche differentiation from sympatric "Elephas" populations, which tended towards mixed feeding (both browsing and grazing).


title: Stegodon

text: In the past, stegodonts were believed to be the ancestors of the true elephants and mammoths, but currently they are believed to have no modern descendants. "Stegodon" is likely derived from "Stegolophodon", an extinct genus known from the Miocene of Asia. "Stegodon" is generally considered to be more closely related to elephants and mammoths than either gomphotheres or mastodons. Some taxonomists consider the stegodonts a subfamily of the Elephantidae. The most important difference between "Stegodon" and (other) Elephantidae can be observed in the molars. Stegodont molars consist of a series of low, roof-shaped ridges, whereas in elephants, each ridge has become a high-crowned plate. Furthermore, stegodont skeletons are more robust and compact than those of elephants.


title: Stegodon

text: In Bardia National Park in Nepal, a population of Indian elephants, possibly due to inbreeding, exhibits many "Stegodon"-like morphological features. These primitive features are considered recent mutations rather than atavisms.


title: Stegodon

text: Fossils of the small, specialized stegodont "S. aurorae" are found in the Osaka Plain, Japan, and date from around 2 million to 7 million years ago. This species possibly evolved from "S. shinshuensis".


title: Stegodon

text: The following cladogram shows the placement of the genus "Stegodon" among other proboscideans, based on hyoid characteristics:


title: Stegodon

text: "Stegodon" became extinct in the Indian subcontinent, mainland Southeast Asia and China by the end of the Late Pleistocene epoch, while Asian elephants, which existed in sympatry with "Stegodon" in these regions, are still extant. The survival of the Asian elephant as opposed to "Stegodon" has been suggested to be due to its more flexible diet in comparison to "Stegodon". A review of 130 papers written about 180 different sites with proboscidean remains in southern China revealed "Stegodon" to have been more common than Asian elephants; the papers gave many recent radiocarbon dates, the youngest being 2,150 BCE (4,100 BP). However, Turvey "et al." (2013) reported that one of the faunal assemblages including supposed fossils of Holocene "Stegodon" (from Gulin, Sichuan Province) is actually late Pleistocene in age; other supposed fossils of Holocene stegodonts were lost and their age cannot be verified. The authors concluded that the latest confirmed occurrences of "Stegodon" from China are from the late Pleistocene, and that its Holocene survival cannot be substantiated.


title: Jill Gibson

text: Jill Gibson (born June 18, 1942) is an American singer, songwriter, photographer, painter and sculptor. She is mostly known for her collaboration work with Jan & Dean and for having briefly been a member of the successful 1960s rock group the Mamas and the Papas. She was also one of the main photographers at the historic Monterey Pop Festival in 1967.


title: Jill Gibson

text: Jill Gibson was born in Los Angeles, California on June 18, 1942. She is half-English. Gibson attended University High School in Los Angeles. She is a former model.


title: Jill Gibson

text: Jill Gibson was studying at University High School in Los Angeles, California when she met Jan Berry of Jan & Dean fame in 1959. The two were an item for the next seven years. Together they wrote over a dozen songs and through Berry, Gibson got more involved with the music scene. Eventually she began composing songs with other known songwriters such as Don Altfeld, George Tipton and Roger Christian, a Los Angeles-based disc jockey who also wrote with Brian Wilson of The Beach Boys.


title: Jill Gibson

text: In 1962 Jan Berry decided to create a female answer to Jan & Dean called Judy & Jill, featuring Gibson with Dean Torrence's girlfriend Judy Lovejoy. Demo recordings such as "Come On Baby" (written by Gibson and Lovejoy), "Eleventh Minute" (written by Gibson and Altfeld), "Just For Tonight", and "Baby What's It Gonna Be" were cut and produced by Berry for Liberty Records. Gibson performed most of the leads on these unreleased demos. Nothing major happened with the Judy & Jill recordings, however, and Gibson switched to providing background vocals on several Jan & Dean album tracks. Meanwhile, she studied visual arts at the University of California at Los Angeles.


title: Jill Gibson

text: In 1963, Gibson appeared on the Jan & Dean track "Surf Route 101", and the next year she performed backing harmony on a song she wrote with Don and Horace Altfeld called "When It's Over" for a Jan & Dean album. She then recorded two vocal duets with Berry that she had written with Don Altfeld that year, "It's As Easy As 1,2,3" and "A Surfer's Dream". The tracks appeared on 2 different 1964 Jan & Dean albums.


title: Jill Gibson

text: In November 1963 ABC television aired a one-hour special called "Celebrity Party" hosted by Dick Clark and Donna Loren that included performances and/or appearances by Jill Gibson, Jan & Dean, The Beach Boys, Shelley Fabares, James Darren, Connie Francis, George Hamilton, Nancy Sinatra, The Challengers, Johnny Crawford, Deborah Walley, among others. It was sponsored by Dr Pepper.


title: Jill Gibson

text: Gibson released her first solo recording in 1964, a cover version of her own song "It's As Easy As 1,2,3" backed with "Jilly's Flip Side", written by P.F. Sloan with Steve Barri and issued on Imperial Records. Jan Berry produced and arranged both tracks. She also sang backup on Jan & Dean's hit "Ride the Wild Surf." Gibson co-wrote the B-side single "He Don't Love Me" for Shelley Fabares' "More Teenage Triangle" LP in 1964 with Berry.


title: Jill Gibson

text: In July 1965, a hit song Gibson had co-written with Berry and Roger Christian, called "You Really Know How to Hurt a Guy", peaked at number 27 for Jan & Dean on the "Billboard" Hot 100 singles chart.


title: Jill Gibson

text: By the time Gibson sang vocals on Jan & Dean's last studio album, "Jan & Dean Meet Batman", in 1966, her personal relationship with Berry was ending; they had gone their separate ways by the album's March 1966 release but remained friends. Shortly after their breakup, Berry was involved in a serious motor-vehicle accident on April 12, 1966, which he survived. Gibson often visited in the hospital during his long, difficult recovery. Later Gibson dated Lou Adler, whom she had known since 1959 when he was the executive producer and manager of Jan Berry and Dean Torrence. Adler had recently separated from his wife, actress and singer Shelley Fabares.


title: Jill Gibson

text: "Eleventh Minute" was briefly released in 1997 as the B-side of a 45 rpm record on the Maltshop Records label. The licensed recording was soon withdrawn from sale (300 of the 500 red vinyl copies subsequently destroyed) due to questionable ownership of copyright and mechanical rights, as well as numerous label inaccuracies – most notably the performing artists are identified on the label of Maltshop 2 as "Jody & Jill". Furthermore, the A-side recording, "Come On Baby", was not the ballad demo offered to Liberty Records, but an up-tempo surf rocker by an unknown male singer and band.


title: Jill Gibson

text: On April 18, 2004, Jill Gibson was one of 400 invited guests who gathered at The Roxy Theatre in Hollywood, California, to celebrate Jan Berry's life and music at a tribute called "Jan Berry: A Celebration of Life". Other guests included Judy Lovejoy (her former singing partner), Dean Torrence, Don Altfeld (her former songwriting partner), Ann Marshall, Ryan O'Neal, Nancy Sinatra, Lou Adler, Lloyd Thaxton, Diane Rovell and Ginger Blake of The Honeys. The night featured live performances of Jan & Dean songs performed by artists who had once worked with Berry in the 1960s. The event had been planned by Berry's widow, Gertie, and Al Nassar.


title: Jill Gibson

text: In 2008, Jill Gibson recorded the duet ballad "When It's Over" with Cameron Michael Parkes for the Berry tribute album "Encomium In Memoriam Vol. 1". The song "When It’s Over" was originally written and recorded by Gibson with Jan Berry in 1964 that was issued as the B-side of Jan & Dean's hit single "Sidewalk Surfin’."


title: Jill Gibson

text: It was through Adler that Gibson met the rock group The Mamas & the Papas, a highly successful band Adler produced in the late 1960s. Occasionally, Gibson would visit Lou Adler in the studio while he was producing the band, who had just begun work on a new album. Gibson found herself in the right place at the right time when the leader of the group, John Phillips, fired his wife, Michelle Gilliam Phillips, from the band on Saturday, June 4, 1966, for having had an affair with Gene Clark of The Byrds. Instead of the group breaking up, they asked Jill Gibson to join The Mamas & the Papas as their newest member "Mama Jill". Shortly after joining the band, The Mamas & the Papas, along with Lou Adler, left for Europe for several weeks to begin working together.


title: Jill Gibson

text: Arriving in London, England, Gibson, Cass Elliot, John Phillips, Denny Doherty, and Lou Adler rented the top half of a large house in Berkeley Square to work in (the downstairs part was rented to Mick Jagger and model Chrissie Shrimpton). Over the next three weeks Gibson rehearsed with the group in London for the recording of the band's upcoming second album and for a few live shows. While in England, the band had a series of business meetings, but still made time to party with John Lennon, Paul McCartney, Keith Richards, Brian Jones, and Mick Jagger at Dolly's (the private London rock club that catered to the stars). Upon returning to the United States, the group, their manager Bobby Roberts, their attorney Abe Somer, and their label Dunhill Records officially fired Michelle Phillips on Tuesday, June 28, 1966. Jill Gibson was hired two weeks earlier, just before the band left for England.


title: Jill Gibson

text: Beginning in early July and continuing through part of August 1966, Gibson, Cass Elliot, Denny Doherty, John Phillips and Lou Adler recorded the band's second LP at Western Studios in Los Angeles, California with Bones Howe as the engineer. Fourteen tracks were recorded for the proposed second album, with twelve making the final cut. The first single "I Saw Her Again" was issued in late June but was recorded before Gibson was hired. The single peaked at number 5 on the "Billboard" Hot 100 on July 30, 1966, while Jill Gibson was a member of the band. The group had been in the middle of recording their sophomore album when Michelle Phillips was fired. Once Gibson was hired they re-recorded the songs and also recorded new tracks with her at Western Studios. It was decided the album would be called "Crashon Screamon All Fall Down" and was scheduled for a late August release. The American record-buying public had already ordered more than half a million advance copies of this album before it came out, and it was said to have been the most eagerly awaited record of that year.


title: Jill Gibson

text: Prior to Michelle Phillips having been fired, the band was photographed for the cover of their second LP inside the window frame of an abandoned house in the desert. That was soon changed by their label Dunhill Records, which asked the original photographer, Guy Webster, to photograph Jill Gibson alone in exactly the same pose as Michelle and then superimpose Gibson's image over Phillips'. The record label was not satisfied with the finished product and therefore ordered Webster to shoot a totally new album cover. Webster's new cover showed Gibson, John Phillips, Denny Doherty, and Cass Elliot with a fan, in a field of grass beside a white picket fence. The label was pleased with the new cover and it was used to promote the new LP in music trade papers, as well as on large billboards across the country.


title: Jill Gibson

text: A promotional campaign to introduce Gibson as the newest Mama soon followed, with articles in such publications as "Newsweek" magazine, which featured an article on the group referring to Gibson as "skeletal, modish, blonde and beautiful". Another article called "New Mama is definitely Jill" was published in "Melody Maker", followed by a cover story on Gibson that was featured in "KRLA Beat" with the headline reading "Brand New Mama". The new Mama also made several television show appearances with The Mamas & The Papas to promote their latest single, "I Saw Her Again".


title: Jill Gibson

text: The Mamas & the Papas hit the road with Gibson for a few concert dates, beginning on July 1 in Dallas, Texas (the Dallas show was supposed to be on June 18 but was postponed until July 1) and ending in Phoenix, Arizona. Other dates included Forest Hills, New York and Denver, Colorado. Simon & Garfunkel opened for the band on some of these dates. According to Gibson, things had gone smoothly. The fans seemed to have accepted her, she was comfortable performing on stage with the group, and she enjoyed singing all of the songs in the band's 40-minute set. However, according to John Phillips and other sources, the chemistry within the group was not there with Gibson. In late August 1966, he decided it would be best to let Gibson go and to reinstate his wife Michelle Phillips. Michelle Phillips later admitted that Gibson had sung well and had done a very good job as a member of The Mamas & The Papas.


title: Jill Gibson

text: According to Jill Gibson, fans did not scream out for Mama Michelle during every live concert with her. It occurred only once, at a show in Forest Hills, New York, when a male fan shouted out, "Where's Michelle?" "Billboard" magazine, which reviewed the August 6, 1966 Forest Hills concert, said there were a number of hecklers in the audience.


title: Jill Gibson

text: Gibson was relieved to be free of the chaos that followed the supergroup, but she also felt betrayed by John Phillips. She had been told that her position in the group was permanent. The band and their label Dunhill Records gave Gibson an undisclosed lump sum for her three-month stint as Mama Jill. The album the group recorded with Gibson was pulled by the label to accommodate the return of Michelle Phillips. No copies of "Crashon Screamon All Fall Down" featuring Jill Gibson were officially released to the public, with only pre-release copies being circulated. The copies with Gibson are valuable collectibles today, and it is believed that anywhere from ten to twenty thousand were issued. The promo copies have the "Crashon Screamon All Fall Down" cover photo with the band and white picket fence.


title: Jill Gibson

text: With Michelle Phillips back in the mix, several tracks were re-recorded for the second album. The LP was renamed simply as "The Mamas & the Papas" and it hit the stores in September 1966, with Michelle Phillips' image on the cover. In 2002, Jill Gibson claimed that she recorded ten of the tracks for the second album, while Lou Adler claimed that same year she recorded only six of the songs, one being "Trip, Stumble and Fall". Session sheets of the recording dates note that Jill Gibson recorded seven songs. In 2006, Gibson said she still believed her voice remained on many of the songs. Michelle Phillips claimed she had no idea who sang on the album, while author Matthew Greenwald confirmed in his book that Jill Gibson recorded part of the LP and did, in fact, appear on several tracks on the final released version. The LP was certified Gold and peaked at number 4 on the "Billboard" 200 Albums Chart without Gibson receiving a Gold copy herself. A second single (not featuring Gibson), "Words of Love", was released from the LP and peaked at number 5 on the "Billboard" Hot 100 in late 1966. The third single "Dancing In the Street" also did not feature Gibson. The fourth and final single from the album was "Dancing Bear", featuring Gibson, and peaked at number 51 on the "Billboard" Hot 100. "Dancing Bear" was released in 1967, a year after it was recorded.


title: Jill Gibson

text: After having been ejected from The Mamas & the Papas, Gibson wrote the songs "I've Got A Feeling For Love" and "How Can I Be Down" with producer Gary Zekley for the psychedelic band The Yellow Balloon, and she performed background vocals for the band's one eponymous record. In 1966, she and Don Altfeld co-produced a cover version of the Bo Diddley song "Who Do You Love?" for the blues-rock group The Woolies.


title: Jill Gibson

text: In 2002, Gibson's past as a singing former Mama came briefly full circle when she recorded a cover version of "California Dreamin'" with San Francisco singer-guitarist Ace Andres for his "Cowboy Hat Blues" album. On that version of her former band's pop hit, the song was turned into a hard rock song.


title: Jill Gibson

text: Around her time with the Mamas & the Papas, Gibson returned to photography, which she had begun to take seriously back in 1965 when she met photojournalist Ralph Gibson (no relation). During this same period, Gibson studied with Edmund Teske, a photographer working with the technique of solarization.


title: Jill Gibson

text: In June 1967 Gibson attended the first ever Monterey International Pop Festival with Lou Adler, where she was an invited member of the press. Over this three-day period in sunny Monterey, California, she photographed nearly every act on the bill, and her photographs of celebrities such as Jimi Hendrix, Janis Joplin, Jefferson Airplane, the Mamas & Papas, and Brian Jones have been published around the world. One of Gibson's photos of Jimi Hendrix made the front cover of "Rolling Stone" magazine. Gibson can be seen twice in the film version of this festival, "Monterey Pop", by D.A. Pennebaker.


title: Jill Gibson

text: Jill Gibson took the photographs for the psychedelic rock group Fever Tree's self-titled debut album cover and its liner pictures for the band's 1968 LP released on Uni Records.


title: Jill Gibson

text: Gibson and Adler would break up as a couple in late 1967. After briefly dating Elmer Valentine, owner of the Whisky a Go Go in Los Angeles, Gibson went to New York City to study art at the Art Student's League with classical artist Frank Mason. After two years there, and a short stint in New Mexico, she left for Florence, Italy in 1970. For the next five and a half years Gibson painted while living in the Tuscan hills, studying briefly at The Simi Studio in Florence before returning briefly to California in 1973. On that return visit Jill Gibson made her American debut as a painter where her art was showcased for the first time at the DeVorzon Gallery in Hollywood for a week, and such guests as Jack Nicholson, Roman Polanski, Lou Adler, and Michelle Phillips were in attendance. Lou Adler purchased an original Gibson painting for $450 at the time while Nicholson also purchased two originals.


title: Jill Gibson

text: Jill Gibson's developing style as an artist is influenced by her interest in Renaissance art, nature, and the feminine. Many of her original art works are in the private collections of Max Factor, Guy Webster, Michael Savage, The Seattle Museum, Jack Nicholson, and a fifteen-foot photo montage in The Los Angeles Free Clinic.


title: Jill Gibson

text: Today, Jill Gibson is a full-time artist with her own studio, Gibson Artworks, in Marin. Over the last twenty-five years her art work has been displayed in galleries in Italy, the Netherlands, Germany, and in the United States.


title: Jill Gibson

text: Her paintings, sculptures, photography, planters, plaques, fountains, and bowls can be viewed on her official website. She divides her time between her homes in Oakland, Los Angeles, and San Mateo Rio Hondo, Oaxaca, Mexico.


title: Jill Gibson

text: In 1975, she gave birth to a son, Mattia Borrani. Borrani has followed his mother's pursuit of a career in music and is the lead singer and rhythm guitarist for the indie rock group Oslo.


title: Rurouni Kenshin: The Legend Ends

text: On June 21, 2016, Funimation announced that they acquired the rights to the "Rurouni Kenshin" live-action trilogy for US distribution. The film was released subtitled in US theaters in October 2016. A home video and video on demand release followed shortly after.


title: Rurouni Kenshin: The Legend Ends

text: Two further installments in the film series were released in 2021; "", a sequel to "The Legend Ends", and "", a prequel to the entire series.


title: Rurouni Kenshin: The Legend Ends

text: In a flashback, Hiko Seijūrō finds young Shinta digging graves for bandits and slavers killed in battle. Shinta explains that all people are only bodies after death. Hiko decides to take Shinta as his student and names him "Kenshin". Himura Kenshin wakes up at Master Hiko's home, and asks if his friend (Kaoru) was also washed up. He has been unconscious for three days, and Master Hiko tells him that his friend is most likely dead. Kenshin asks to learn the final "Hiten Mitsurugi" technique, ""Amakakeru Ryu no Hirameki"", in order to defeat Shishio Makoto and prevent his onslaught. Hiko agrees, and the two engage in a duel to start his training.


title: Rurouni Kenshin: The Legend Ends

text: Shishio appears off the Tokyo coast in a large black iron-clad battleship, and demands that the home minister, Ito Hirobumi, visit him to discuss the situation. After inviting the ministers to join him for food, one of them loses his temper, and is killed by one of Shishio's men. The prime minister tries to restore order and decorum, but Shishio takes them prisoner when they try to leave - killing all the government men apart from the prime minister. Shishio demands that Battousai be brought to him, otherwise he will bring down the government by making public all the killings and murders that were undertaken by the current government. Saito Hajime also known as Fujita is still searching for Battousai, and is disgusted with the way the government is handling the matter by giving in to blackmail from Shishio.


title: Rurouni Kenshin: The Legend Ends

text: Yahiko Myojin finds a poster demanding "Battousai" Kenshin be arrested, which he and Sagara realise suggests that Kenshin must still be alive, and they leave for Tokyo and the Kamiya Dojo with Misao to find him and search for Kaoru Kamiya. A young woman approaches them with a scarf as they are leaving, which Misao recognises as the one she bandaged Kaoru with and they rush off. They appear outside a hospital and enter to find Kaoru unconscious and alive.


title: Rurouni Kenshin: The Legend Ends

text: Kenshin learns through his training from Hiko that he had thrown away his will to live during his time as the assassin Battōsai, and as he has no intention of coming out alive he will be unable to defeat Shishio. Hiko also points out that Kenshin has lost his killer instinct with his oath to not kill and his ridiculous" sword, after all it is the strong who survive and the weak who die. That night, Hiko says that something is missing in Kenshin, and that he will be given the night to think about it. If he cannot figure out what it is, he will die the next day. The next morning, Kenshin is still unable to understand what is missing in himself. So Hiko reveals his final task as Master to Kenshin - without realising what is missing, Kenshin will return to his old ways - and so Hiko has to kill Battōsai. When Hiko attacks him, Kenshin realises that he is trembling. It is not from fear of his master but from fear of death itself and instinctively uses his sword to protect himself as he does not want to die. Kenshin listens as he is told by his master that he cannot learn the secret until he realises that the will to live is paramount, that his life is just as worthy as others and so he has learned the secret of "Amakakeru".


title: Rurouni Kenshin: The Legend Ends

text: Kaoru awakes from her coma, and reunited with Yahiko and Sanosuke they return to Tokyo. As Kenshin concludes his training and is about to depart, Makimachi Misao arrives with the news that Kaoru is alive. She also tells Kenshin that he has been branded a wanted criminal throughout Japan for his work as Battōsai during the Bakumatsu era. Knowing that Shishio intends to take Tokyo next, Kenshin intends to return home by a secret route given to him by the Oniwabanshu at the Aoiya Inn. They discover that Kashiwazaki Nenji (also known as Okina) has gone on ahead and encountered Shinomori Aoshi, who was lying in wait for Kenshin on that route. Kenshin and Misao arrive and Kenshin duels with Aoshi, during which Okina dies of his wounds. Back at the Aoiya, Misao tends to Aoshi and convinces him to return to the Oniwabanshu. On Shishio's battleship, Shishio, his partner Yumi, and one of his men Hori, discover that because of Shishio's inability to sweat, he can only fight for fifteen minutes without putting his health at risk.


title: Rurouni Kenshin: The Legend Ends

text: Kenshin arrives back at the Kamiya Kashin dojo. Takani Megumi, who has been looking after the dojo in Kaoru's absence, welcomes him back, but shortly after his arrival police arrive to apprehend him. Wishing to prevent further violence, he surrenders, and is taken to the Home Ministry head, Ito Hirobumi. Ito explains that he had tried to talk Shishio into abandoning his plan to overthrow the Meiji government, but the negotiations had ended in disaster and Shishio, still bitter about his cruel treatment by the new government (being burned alive), would only leave the government be for the time being if Kenshin were arrested and executed. Otherwise, he intends to attack Tokyo. Kenshin convinces Ito that he can defeat Shishio if Ito helps him. Ito seemingly decides to go through with the execution anyway. Kaoru, Sano and Yahiko return to Tokyo soon after and, to their horror, discover that Kenshin is to be executed the same day. Shishio's men attend the execution to ensure that Ito carries through with the negotiations.


title: Rurouni Kenshin: The Legend Ends

text: The execution, however, is merely staged, and Kenshin is freed and assisted in defeating the men by Hajime Saito. Sano joins them, and the three are rowed to Shishio's battleship. While searching for Shishio, Kenshin meets Seta Soujiro again and the two rematch. Kenshin comes out victorious, and Soujiro, who originally believed Kenshin to be weak, is crushed and confused. Kenshin finally finds Shishio, Yumi and Hori waiting in the ship's hold. A duel ensues between Kenshin and Shishio, who easily overpowers Kenshin. Saito arrives immediately after, followed by Sano and Aoshi, who followed them from Kyoto, but even the four together are no match for Shishio. Shishio hits his limit of 15 minutes and Yumi attempts to shield him from Kenshin while Shishio stabs both of them, killing her. Meanwhile, Ito's men begin firing at the ship, intending to sink it and drown both Shishio and Kenshin inside. Shishio condemns Kenshin for helping such a government. Kenshin agrees that the new Meiji government is faulty, but argues that the age of assassins like himself and Shishio is over and that there should be no more violence. He manages to defeat Shishio using Amakakeru, though not physically harming him. Shishio, who has long hit his limit and whose body has become overheated, catches fire and burns to death before the group's eyes.


title: Rurouni Kenshin: The Legend Ends

text: Saito, Aoshi, Sano and Kenshin escape from the ship before it sinks and are brought back to shore, where Kaoru, Yahiko, Misao and the Home Ministry are waiting. Ito acknowledges Kenshin as Himura Kenshin for the first time while declaring Battōsai dead, and his men salute the group as heroes. Aoshi and Misao return to Kyoto, and Kaoru, Kenshin, Yahiko and Sano return to the dojo. Kaoru notes the change of season, as well as the end of Kenshin's life as Battōsai. Kenshin expresses his desire to continue living at the dojo and to move forward into the new era, and invites Kaoru to move forward with him.


title: Rurouni Kenshin: The Legend Ends

text: Otomo said the final fight scene was the most difficult scene to shoot, mainly due to how Satoh and Fujiwara did not use stunts. Nevertheless, the director found it as an "epic" scene.


title: Rurouni Kenshin: The Legend Ends

text: The film was released on Blu-ray and DVD by Funimation on January 3, 2017 in North America which includes an English dubbed version of the film. Funimation also gave the film a TV-MA rating.


title: Rurouni Kenshin: The Legend Ends

text: The film debuted at the Japanese box office in second place, earning . In its fourth weekend, it ranked first and earned . It was number-one for four weeks. It was one of the top five films of 2014 at the Japanese box office (below "Kyoto Inferno" at number three), grossing () in Japan. Overseas, it grossed () in South Korea, and $2,484,963 in other territories, for an international total of .


title: Rurouni Kenshin: The Legend Ends

text: The film received largely positive reviews from critics, once again receiving widespread recognition for its ground-breaking fight choreography and action direction coordinated by Kenji Tanigaki.


title: Rurouni Kenshin: The Legend Ends

text: Gareth Evans, director of "The Raid" and "The Raid 2", shared high praise for the live-action "Rurouni Kenshin" trilogy from director Keishi Ōtomo, Studio Swan and WB Japan. Through a series of Tweets and Instagram posts, Evans stated "Goddamn the action in "Rurouni Kenshin" is [frick]ing beautiful. Huge tip of the hat to choreographer Kenji Tanigaki" and went on to commend the third act of the film, specifically the final battle between Seta Sōjirō and Himura Kenshin. "Piled through the trilogy on a flight. Sojiro vs. Kenshin is poss one of the best sword fights I’ve seen. Must buy, must rewatch, must study!" as well as "Revisiting the "Rurouni Kenshin" films and f--k me this is such a beautifully complex shot. Pure action cinema, all about the rhythm and energy."


title: Rurouni Kenshin: The Legend Ends

text: Roxy Simmons of Eastern Kicks described "The challenge with adapting any popular media is striking a balance that caters to fans of the source material but also allows the film to stand alone for the average viewer. This film does exactly that. "The Legend Ends" beautifully ties up the story begun in "Kyoto Inferno", the second installment, delivering a fiery climax that melts into the sweetest of endings. — As an adaptation, the film is one that does deviate in places from its source material, though the approval of the manga artist, Nobuhiro Watsuki, is a clear indicator of how well these were done, and fans of the anime and manga will definitely be pleased with the near perfect execution of scenes that are practically lifted off the page. The acting has consistently been good in these Kenshin movies, and the cast delivered solid performances once again. Tatsuya Fujiwara, in particular, was finally able to spread his wings in this, and was fantastic as the antagonist Makoto Shishio, portraying a nuanced version of his character and vulnerabilities that made his end all the more satisfying."


title: Rurouni Kenshin: The Legend Ends

text: Lito B. Zulueta of Philippine Daily Inquirer praised the film, declaring that ""The Legend Ends"" has "restored the samurai genre", and goes on to commend various aspects of the film. ""Legend" ends in a duel to the death of the two swordsmen. Needless to say, the fight is a spectacle to end all fight spectacles. Directed by Keishi Ohtomo, the Rurouni Kenshin movies are fabulous spectacles that deny itself the usual Hollywood gloss and over-the-top CDG tricks to achieve its epic look and proportion. It instead relies on good old classic filmmaking. The production design and art direction are first-rate. The two-part sequel, for instance, begins and ends in spring, and the production so evokes beautifully the season that viewers may be driven to tearful exaltation. The ""Rurouni"" movies are in the tradition of classic Japanese photography. Moreover, the production is driven by a gripping storyline and very compelling characters. For example, Kenshin and Shishio are totally engaging and, in their own terms of twisted motivation and mission, credible characters."


title: Rurouni Kenshin: The Legend Ends

text: Derek Elley of Film Business Asia awarded the film an 8 out of 10, praising its "reflective lead-up to a humdinger finale." and commended the film's action direction "the mammoth duel on the villain's iron battleship, staged by action director Kenji Tanigaki in a way that shows a return to his Hong Kong training visible in the first movie in the series. Instead of the bloodless slash-and-bustle sword fights that dominated Kyoto, the finale is more mano a mano, contact fighting, in a virtual arena in the bowels of the battleship. There's also an intriguing hint that there's not that much difference between the villain and his opponents — all are basically dinosaurs from a now-outmoded warrior culture."


title: Rurouni Kenshin: The Legend Ends

text: In a mixed review, Clarence Tsui of The Hollywood Reporter criticized the film's two hour length, as well as its expository first act, and choreography, labeling it "riveting" but the climax of the four against Shishio "po-faced absurdity." and goes on to comment "Characters talk in glib soundbites offering cod philosophy: Himura's mentor and friends harp on about the importance of self-respect, while Shishio — all bandaged up because of the burns he suffered at the hands of his erstwhile government employers — taunts his foes for their warped morals and failure to see that there's profit to be had in fearmongering." Tsui states later in the review that ""The Legend Ends" offers a type of wide-screen, cinematic entertainment that most Japanese film adaptations — of TV series or comics — now lack. The proper way forward — for its producers or its international distributors, is to combine (the more engaging) "Kyoto Inferno" and (the more socially conscious) "The Legend Ends" into one, so as to give "Rurouni Kenshin" — whether it's Watsuki's source material or Otomo's films — a compact, satisfactory finale."


title: Rurouni Kenshin: The Legend Ends

text: Plans for another sequel had been revealed by Daily.co.jp on September 4, 2017, in connection the main actress Emi Takei's breach of contract due to her marriage with Exile band member Takahiro, as well as her pregnancy. Takei had agreements with up to 10 companies for commercials, including JTB and Yōfuku no Aoyama, and it was reported that her agreement with SSP might be terminated, with her commercial agreements with other companies being affected. Oscar Promotion, Takei's agency, apologized to its clients, and was negotiating penalties for breach of contract. The penalty for her breach of contract could have reached up to 1 billion yen (about US$9.11 million). On April 12, 2019, it was announced that two new live-action films will premiere in summer 2020; "" was slated to premiere on July 3 and "" on August 7. Both films were delayed to 2021 due to COVID-19.


title: Tetro

text: Tetro is a 2009 American-Argentine drama film written, produced and directed by Francis Ford Coppola and starring Vincent Gallo, Alden Ehrenreich and Maribel Verdú. Filming took place in 2008 in Buenos Aires, Patagonia, and Spain. An international co-production between the United States, Argentina, Spain and Italy, the film received a limited release in the U.S. on June 11, 2009.


title: Tetro

text: Set in Argentina with a high content of film noir, this story of the reunion of two brothers follows the rivalries born out of creative differences passed down through generations of an artistic Italian immigrant family.


title: Tetro

text: In February 2007, Coppola announced that he would produce and direct the film "Tetro", based on a script that he had written while editing "Youth Without Youth". Production was scheduled to begin in Buenos Aires, Argentina in late 2007. Coppola was attracted to Argentina as a location, "I knew Argentina has a great cultural, artistic, literary, musical, cinema tradition, and I like those kinds of atmospheres very much because you usually find creative people to work with." Production did not begin as scheduled, and by March 2008, Vincent Gallo and Maribel Verdú joined the cast. The Spanish company Tornasol Films and the Italian company BIM Distribuzione signed with the director to co-produce the film. Production began on March 31, 2008 with a budget of $5 million, with Coppola using the production style similar to his previous film "Youth Without Youth". Filming took place in La Boca in Buenos Aires and other parts of the capital city. Filming also followed in the Andean foothills in Patagonia and at the Ciudad de la Luz studios in Alicante, Spain. Production concluded in June.


title: Tetro

text: In May 2008, during filming in Argentina, the Argentina Actors Association, an actors' union, claimed that production of "Tetro" was shut down due to union members working on the film without a contract. According to "The Hollywood Reporter", "Local press reports say that script changes and communication problems between the multi-national cast and crew have extended filming days beyond regularly scheduled hours, and that some of the Argentine actors are still not certain of their salary." The director's spokesperson, Kathleen Talbert, denied that production was halted, saying, "There are no holds on shooting, no problem with actors. In fact, the majority of the Argentine actors have already wrapped the shooting." By the end of the month, the union said the issue was resolved, reporting, "The lawyers for the producers presented the necessary documentation and recognized the errors that they had made. So now they are able to continue with production." In contrast, Talbert reiterated that there had been no issue, and production was never halted.


title: Tetro

text: The entire project was edited using Final Cut Pro on Apple Mac computers in a specially designed large screen edit suite built by Masa Tsuyuki.


title: Tetro

text: The cast includes Rodrigo de la Serna, Leticia Brédice, Mike Amigorena and Jean-Francois Casanovas. The film features a brief cameo by Argentine film star Susana Giménez in her first performance after a ten-year hiatus from film acting.


title: Tetro

text: The film received generally positive reviews from critics. On Metacritic, the film has an average score of 65/100 based on 26 reviews, indicating "generally favorable reviews". Rotten Tomatoes reported a 71% approval rating, based on 109 reviews with an average score of 6.40/10. The website's critics consensus reads: "A complex meditation on family dynamics, "Tetro"s arresting visuals and emotional core compensate for its uneven narrative."


title: Tetro

text: Roger Ebert of the "Chicago Sun-Times" gave the film 3 stars, praising the film for being "boldly operatic, involving family drama, secrets, generations at war, melodrama, romance and violence". Ebert also praised Vincent Gallo's performance and stated Alden Ehrenreich "inspires such descriptions as 'the new Leonardo DiCaprio' ". Todd McCarthy of "Variety" gave the film a B+ judging that "when [Coppola] finds creative nirvana, he frequently has trouble delivering the full goods." Richard Corliss of "Time" magazine gave the film a mixed review, praising Ehrenreich's performance, but claiming Coppola "has made a movie in which plenty happens but nothing rings true."


title: Battle of Ypres

text: The Battle of Ypres was a series of engagements during the First World War, near the Belgian city of Ypres, between the German and the Allied armies (Belgian, French, British Expeditionary Force and Canadian Expeditionary Force). During the five engagements, casualties may have surpassed one million.


title: Maniraptora

text: Maniraptora is a clade of coelurosaurian dinosaurs which includes the birds and the non-avian dinosaurs that were more closely related to them than to "Ornithomimus velox". It contains the major subgroups Avialae, Deinonychosauria, Oviraptorosauria and Therizinosauria. "Ornitholestes" and the Alvarezsauroidea are also often included. Together with the next closest sister group, the Ornithomimosauria, Maniraptora comprises the more inclusive clade Maniraptoriformes. Maniraptorans first appear in the fossil record during the Jurassic Period (see "Eshanosaurus"), and survive today as living birds.


title: Maniraptora

text: Maniraptorans are characterized by long arms and three-fingered hands (though reduced or fused in some lineages), as well as a "half-moon shaped" (semi-lunate) bone in the wrist (carpus). In 2004, Tom Holtz and Halszka Osmólska pointed out six other maniraptoran characters relating to specific details of the skeleton. Unlike most other saurischian dinosaurs, which have pubic bones that point forward, several groups of maniraptorans have an ornithischian-like backwards-pointing hip bone. A backward-pointing hip characterizes the therizinosaurs, dromaeosaurids, avialans, and some primitive troodontids. The fact that the backward-pointing hip is present in so many diverse maniraptoran groups has led most scientists to conclude that the "primitive" forward-pointing hip seen in advanced troodontids and oviraptorosaurs is an evolutionary reversal, and that these groups evolved from ancestors with backward-pointing hips.


title: Maniraptora

text: Holtz and Osmólska (2004) diagnosed the clade Maniraptora based on the following characters: reduced or absent olecranon process of the ulna, greater trochanter and cranial trochanter of the femur fused into a trochanteric crest. An elongated, backwards-pointing pubic bone is present in therizinosauroids, dromaeosaurids, avialans, and the basal troodontid "Sinovenator", which suggests that the propubic condition in advanced troodontids and oviraptorosaurs is a reversal. Turner "et al." (2007) named seven synapomorphies that diagnose Maniraptora.


title: Maniraptora

text: Modern pennaceous feathers and remiges are known in the advanced maniraptoran group Aviremigia. More primitive maniraptorans, such as therizinosaurs (specifically "Beipiaosaurus"), preserve a combination of simple downy filaments and unique elongated quills. Simple feathers are known from more primitive coelurosaurs such as "Sinosauropteryx prima", and possibly from even more distantly related species such as the ornithischian "Tianyulong confuciusi" and the flying pterosaurs. Thus it appears as if some form of feathers or down-like integument would have been present in all maniraptorans, at least when they were young.


title: Maniraptora

text: Maniraptora is the only dinosaur group known to include flying members, though how far back in this lineage flight extends is controversial. Powered and/or gliding flight is believed to have been present in some types of dromaeosaurid, such as "Rahonavis" and "Microraptor". "Zhenyuanlong suni", a dromaeosaurid, was too heavy to fly but still had wings with feathers required for flying, which suggests its ancestors had the ability for aerial locomotion. Other groups, like the Oviraptorosauria who had a tail with pygostyle like features, are not known to have been capable of flight, but some scientists have suggested that they could be descended from ancestors which flew. Gregory S. Paul has suggested that this might be the case. Paul has gone as far as to propose that Therizinosauria, Alvarezsauroidea, and the non-maniraptoran group Ornithomimosauria descended from flying ancestors as well.


title: Maniraptora

text: The Maniraptora was originally named by Jacques Gauthier in 1986, for a branch-based clade defined as all dinosaurs closer to modern birds than to the ornithomimids. Gauthier noted that this group could be easily characterized by their long forelimbs and hands, which he interpreted as adaptations for grasping (hence the name Maniraptora, which means "hand snatchers" in relation to their 'seizing hands'). In 1994, Thomas R. Holtz attempted to define the group based on the characteristics of the hand and wrist alone (an "apomorphy-based" definition), and included the long, thin fingers, bowed, wing-like forearm bones, and half-moon shaped wrist bone as key characters. Most subsequent studies have not followed this definition, however, preferring the earlier branch-based definition.


title: Maniraptora

text: The branch-based definition usually includes the major groups Deinonychosauria, Oviraptorosauria, Therizinosauria, and Aves. Other taxa often found to be maniraptorans include the alvarezsaurs and "Ornitholestes". Several taxa have been assigned to the Maniraptora more definitively, though their exact placement within the group remains uncertain. These forms include the scansoriopterygids, "Pedopenna", and "Yixianosaurus", and the dubious "Bradycneme" (which turned out to be an alvarezsaur).


title: Maniraptora

text: In 1993, Perle and colleagues coined the name Metornithes to include alvarezsaurids and modern birds, which the researchers believed were members of the Avialae. This group was defined as a clade by Luis Chiappe in 1995 as the last common ancestor of "Mononykus" and modern birds, and all its descendants.


title: Maniraptora

text: In 2002, Czerkas and Yuan reported that some maniraptoran traits, such as a long, backwards-pointed pubis, short ischia, as well as a perforated acetabulum (a hip socket that is a hole) are apparently absent in "Scansoriopteryx". The authors considered it to be more primitive than true theropods, and hypothesized that maniraptorans may have branched off from theropods at a very early point, or may even have descended from pre-theropod dinosaurs. Zhang "et al.", in describing the closely related or conspecific specimen "Epidendrosaurus" (now considered a synonym of "Scansoriopteryx"), did not report any of the primitive traits mentioned by Czerkas and Yuan, but did find that the shoulder blade of "Epidendrosaurus" appeared primitive. Despite this, they placed "Epidendrosaurus" firmly within Maniraptora.


title: Maniraptora

text: Scientists have traditionally assumed that maniraptorans were ancestrally hypercarnivorous, that is, that most non-avialan species primarily ate and hunted only other vertebrates. However, a number of discoveries made during the first decade of the 21st century, as well as re-evaluation of older evidence, began to suggest that maniraptorans were a primarily omnivorous group, including a number of sub-groups that ate mainly plants, insects, or other food sources besides meat. Additionally, phylogenetic studies of maniraptoran relationships began to more consistently show that herbivorous or omnivorous groups were spread throughout the Maniraptora, rather than representing a single side-branch as previously thought. This led scientists such as Lindsay Zanno to conclude that the ancestral maniraptoran must have been omnivorous, giving rise to several purely herbivorous groups (such as the therizinosaurs, primitive oviraptorosaurs, and some avialans) and that, among non-avians, only one group reverted to pure carnivores (the dromaeosaurids). Most other groups fell somewhere in between the two extremes, with alvarezsaurids and some avialans being insectivorous, and with advanced oviraptorosaurs and troodontids being omnivorous.