abstract: (BSゼルダの伝説, lit. BS The Legend of Zelda) Between August 6, 1995 and May 30, 1999, Nintendo, in collaboration with St.GIGA, broadcast three different The Legend of Zelda titles to fans for download via the Super Famicom's Satellaview subsystem. BS Zelda no Densetsu, BS Zelda no Densetsu: MAP2, and BS Zelda no Densetsu: Inishie no Sekiban all featured SoundLink narration which was the first time that Nintendo-sponsored Zelda titles made use of voice-actors to provide vocal tracks. As the first SoundLink Game released via Satellaview, BS Zelda no Densetsu in particular was identified by Nintendo as the world's first integrated radio-game. Also broadcast during this time, starting on March 2, 1997, was a non-SoundLink port of The Legend of Zelda: A Link to the Past, known as Zelda no Densetsu: Kamigami no Triforce in Japan. Broadcasts of Kamigami no Triforce continued periodically throughout the tenure of Nintendo's partnership with St.GIGA, after which St.GIGA independently broadcast the game until May 29, 2000. With the exception of Kamigami no Triforce all Zelda titles broadcast to the Satellaview were Satellaview-exclusive. Because the Satellaview was only released in Japan, these games were also all Japan-only releases. To date none of these titles have been released in any other form and due to the download limitations imposed on the broadcasts and the termination of support for the system these games are no longer available on the commercial market. Subsequent to the announcement at E3 2010 regarding the rerelease of BS Fire Emblem: Akaneia Senki 10 years after the last Satellaview broadcast, there has been renewed speculation regarding the possibility of Nintendo's rerelease of the BS Zelda titles, but to date there has been no official announcement on the matter from Nintendo. There has been much fan debate about whether or not the Zelda titles for the Satellaview should be considered enhanced remakes or spin-off titles, whether or not their plots should be regarded as canonical or not, and if so where they should fit into the timeline of Zelda events.

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# Satellaview games from The Legend of Zelda series

Between August 6, 1995 and May 30, 1999, Nintendo, in collaboration with St.GIGA, broadcast three different *The Legend of Zelda* titles to fans for download via the Super Famicom's Satellaview subsystem. ***BS Zelda no Densetsu***, ***BS Zelda no Densetsu: MAP2***, and ***BS Zelda no Densetsu: Inishie no Sekiban*** all featured SoundLink narration which was the first time that Nintendo-sponsored *Zelda* titles made use of voice-actors to provide vocal tracks. As the first SoundLink Game released via Satellaview, *BS Zelda no Densetsu* in particular was identified by Nintendo as the world's first integrated radio-game. Also broadcast during this time, starting on March 2, 1997, was a non-SoundLink port of *The Legend of Zelda: A Link to the Past*, known as *Zelda no Densetsu: Kamigami no Triforce* in Japan. Broadcasts of *Kamigami no Triforce* continued periodically throughout the tenure of Nintendo's partnership with St.GIGA (which ended on May 30, 1999), after which St.GIGA independently broadcast the game until May 29, 2000.

With the exception of *Kamigami no Triforce* all *Zelda* titles broadcast to the Satellaview were Satellaview-exclusive. Because the Satellaview was only released in Japan, these games were also all Japan-only releases. To date none of these titles have been released in any other form and due to the download limitations imposed on the broadcasts and the termination of support for the system these games are no longer available on the commercial market. Subsequent to the announcement at E3 2010 regarding the rerelease of *BS Fire Emblem: Akaneia Senki* (the first Satellaview-exclusive title to be re-released commercially) 10 years after the last Satellaview broadcast, there has been renewed speculation regarding the possibility of Nintendo's rerelease of the *BS Zelda* titles, but to date there has been no official announcement on the matter from Nintendo.

There has been much fan debate about whether or not the *Zelda* titles for the Satellaview (collectively known as the *BS Zelda* games) should be considered enhanced remakes or spin-off titles, whether or not their plots (different plots from the prior titles in 3 of the 4 Satellaview games) should be regarded as canonical or not, and if so where they should fit into the timeline of Zelda events.

## *BS Zelda no Densetsu*

***BS Zelda no Densetsu*** (BSゼルダの伝説, lit. *BS The Legend of Zelda*) is an action-adventure game first broadcast to Satellaview owners in August 1995. It is the fifth game developed by Nintendo belonging to *The Legend of Zelda* series, but it does not feature Link, the protagonist of the prior four games. Instead it features the same main character that the player selects in the Satellaview game, *BS-X*, and indeed the games are linked functionally and roughly through plot. As such *BS Zelda no Densetsu*, together with *BS Zelda no Densetsu: MAP2* and *BS Zelda no Densetsu: Inishie no Sekiban*, is generally considered to be a spin-off title from the main *Zelda* series. Stylistically similar to the original top-down *The Legend of Zelda* for the NES, but utilizing the 16-bit graphical capabilities of the SNES, *BS Zelda no Densetsu* is also occasionally regarded as an enhanced remake of the original game.

The game's title derives the "BS" portion of its name from the Broadcast Satellite system through which the game was transmitted by the distributor, St.GIGA, to Satellaview owners between the date of the first broadcast (in August 1995) and the last broadcast (in January 1997). As the Satellaview's first SoundLink Game, broadcasts for *BS Zelda no Densetsu* were composed of both a discretely quantifiable portion of game code and a continually streaming vocal track. Employing the voices of voice actors, *BS Zelda no Densetsu* became the world's first integrated radio-game and it marks the first time that a *Zelda* title released by Nintendo would utilize spoken dialog.

The game was broadcast a total of 5 times and several broadcasts were associated with special nationwide-contests and prizes. The game's popularity among Satellaview players prompted the development of *BS Zelda no Densetsu: MAP2* \- a remixed version of *BS Zelda no Densetsu* providing a functional analog to the original *The Legend of Zelda'*s "Second Quest".

### Plot

*BS Zelda no Densetsu* is set chronologically close in time to *A Link to the Past*. Although neither of the two stories makes direct reference to the other, the back-story given at the start of the game is substantially identical. The back-story explains that the Gods had created a holy golden triangle called the Triforce which would grant the wishes of anyone who possessed it. Ganondorf, the evil boss of a gang of thieves, located the Triforce and was transformed into Ganon, meanwhile his baleful influence spread across the land of Hyrule. The Gods sent word by messenger that a holy sword would be required to stop this evil, so the King of Hyrule commissioned such a sword. After it was completed the Hyrulians discovered that nobody could wield the sword and so the king set his 7 sages to work creating a seal to seal Ganon away until such time as a hero would be born who could wield the holy blade. Not long afterward, Ganon escaped and managed to kidnap the King's daughter, Princess Zelda.

As luck would have it, on a Sunday a few days later, a youth from the far away Town Whose Name Has Been Stolen (それは名前を盗まれた街, *Sore wa Namae o Nusumareta Machi*) entered a fabulous portal in a fortune teller's tent and emerged in the dark of a distant land. Following the stars, the child traveled until at last arriving in the land of Hyrule. Entering a nearby cave the child met an Old Man who armed the youth with a sword and explained the predicament in which Hyrule found itself. The child set out to recover the 8 fragments of Triforce hidden deep in dangerous dungeons. After collecting them and reconstructing the Triforce, the child recovered the holy Master Sword, fought Ganon, and slew him to recover another segment of the Triforce. The child then rescued Princess Zelda and returned to the Town Whose Name Has Been Stolen.

Throughout the adventure the youth's efforts were repeatedly frustrated by the inability to progress further. Due to the unstable nature of the magic associated with the fortune teller's portal, the youth's heroic quests in Hyrule were only possible for a one-hour period known as Zelda Time (ゼルダTIME). At the end of the hour the hero would be whisked away back to the City Whose Name Has Been Stolen and the portal would not regain its magical ability to transport the child to Hyrule until the following Sunday.

To make matters easier for the youth, however, the Old Man that dwelt in the first cave the youth had discovered kept track of all of the youth's money and inventory items so that the youth could recover them again and take up from roughly the same position. Additionally, the Old Man was capable of telepathic communication with the hero and could grant the child magical abilities for short periods of time by researching spells in tomes of forbidden magic. The Old Man's ability to see clairvoyantly also enabled him to sense when certain plot elements were occurring such as the kidnapping of the great fairy or the washing up of useful items by the seashore. These events would be relayed to the hero telepathically.

### Gameplay

The gameplay dynamics of *BS Zelda no Densetsu* (and *BS Zelda no Densetsu: MAP2*) are most closely comparable to those of the first *The Legend of Zelda*, but a few major differences exist between *Zelda* and *BS Zelda* which make the two play-through experiences distinctly different. Foremost among these differences is the use of SoundLink data to supplement and provide plot for *BS Zelda*.

As the world's first satellite-based integrated radio-game, *BS Zelda'*s implementation of the streaming SoundLink broadcasts represented an early approach to dealing with the difficulty of meaningfully connecting vocal files to character actions. As such, unlike the later *BS Zelda no Densetsu: Inishie no Sekiban* that allows players to continue moving during SoundLink messages, when the in-game clock hits certain times in *BS Zelda* the game pauses to display a message reading "Listen closely" (耳をすませ). During this time, players would hear the voice of the narrator (Kiyoshi Kobayashi \- playing the part of the Old Man) grant the player magical abilities or warn of events occurring elsewhere in the Land of Hyrule. During other periods of paused gameplay such as during the introduction and end sequences, fully voiced plot details relating to Princess Zelda (voiced by Naomi Fujisawa) and Ganon (voiced by Seizō Katō) were also broadcast.

In order to allow the proper pacing of plot elements revealed in vocal files, the game progresses according to a strict time-based system. An onscreen clock displaying "Zelda Time" can be seen at all times and because the game is played in real-time, the time cannot be paused even if the game is paused. At various points in "Zelda Time" certain pre-set plot events occur. These events range from the death or stunning of all enemies in a room, or the appearance of fairies, to occasional weapons/munition upgrades allowing the use of more powerful versions of items and/or the unlimited use of items for a limited time.

The game was divided in fourths and broadcast in episodic installments (with the only subtitle being the standard Satellaview suffix, Episode X (第X話, *dai X wa*) where X was a number between 1 and 4). Each episode limited players to a certain restricted playing area either by withholding necessary items or by using obstacles on the overworld map that would be removed in later episodes. This ensured that players would experience a paced gameplay experience and allowed for a closer tailoring of SoundLink plot details to the events unfolding in new areas of the overworld map. The overworld in *BS Zelda* was altered from the 8 by 16 map used in the original *The Legend of Zelda* to an 8 by 8 grid, although an effort to make Map 1 roughly comparable in terms of general landscape features to the overworld in *Zelda* is apparent.

As in *The Legend of Zelda*'s Second Quest, dungeons are again completely different. Consequently, *BS Zelda* is sometimes referred to as a "Third Quest" in reference to *The Legend of Zelda*'s Second Quest. *BS Zelda: MAP2* could thus be considered the "Fourth Quest". Carrying on the tradition initiated in the Second Quest where the dungeon map layouts spelled "ZELDA", Third Quest layout spells "St.GIGA" and the Fourth Quest spells "NiNtENDO".

Unlike the original *Zelda*, in *BS Zelda* the player's name and gender were selected in the Satellaview game-selection interface, *BS-X*. This initial selection then carried across to the game. The characters themselves are nameless in-game and are referred to by the narrator as either "child" or "youth".

Other differences between *Zelda* and *BS Zelda* include an increase in the maximum number of rupees allowed a player from 255 to more than a thousand, and the addition of a score that was tallied when gameplay ended at the expiration of "Zelda Time". Score tallies were calculated based on an algorithm factoring in such elements as whether or not Ganon had been slain, how many pieces of Triforce had been collected, number of restarts, number of hearts lost, and number of rupees collected. As each rupee represents one point in the final score tallied at the end of a play-through, the number of rupees collected often was of central importance in achieving high-scores needed to win prizes during special competition runs.

### Development

From the earliest days of the Satellaview, the intention was to provide an opportunity for players "from Kyūshū to Hokkaidō" to enjoy two-way communication and involvement with a communication system allowing multiplayer netplay. While the earliest broadcasts for the Satellaview included solo-play games and strictly time-linked SoundLink Magazines that gave a sense of the player's direct temporal connection to the broadcasting center, St.GIGA, Nintendo's goal of simultaneous involvement between and amongst players was thought to be lacking. For this reason Nintendo began sponsoring a series of student networking projects to develop a network game that would let home consumers interact with each other over the satellite broadcasting system. The result of this networking project was the world's first integrated radio-game (or SoundLink Game) - *BS Zelda*.

As a programming project, *BS Zelda* was considered by students to be exceptionally difficult due to the strict quality control imposed by Nintendo. The game was to have no interactive lag and no programming bugs of any kind. The project went through at least two beta versions prior to release. On final release the game was divided into 4 episodes each of which would be available for download only during a narrow 1-hour window. Simultaneously streaming "SoundLink" vocal files would be broadcast to players to provide an expanded fully orchestrated musical score as well as plot narration. These vocal tracks were far too large for the 8M ROM capacity of the Satellaview, however as streaming files they were only temporarily stored as RAM which was then over-written as the game progressed. Although players would not be able to play a true multiplayer game as only 1 player could be displayed in the overworld at one time, the goal of a sense of inter-player community was achieved by linking all *BS Zelda* players to a common real-world time-frame, by making in-game references to the idea of other players, and by including a game score and password system that allowed the publishing of ranking tables and the competition of players against one another for prizes awarded by St.GIGA. The serialized structure together with the strength of the *Zelda* franchise was intended to encourage Satellaview sales and viewership and to establish fan loyalty.

First announced during an early July 1995 SoundLink Magazine broadcast of Hikaru Ijuin's King of Summer (夏休みの王様, *Natsuyasumi no Ō-sama*), the official *BS Zelda* pre-release party was hosted by Hikari Ōta and took place during the August 3, 1995 SoundLink Magazine broadcast of Bakushō Mondai, and the first episode of *BS Zelda* was released on Sunday August 6, 1995 with new episodes broadcast every subsequent Sunday through the 27th. The game was re-broadcast on at least 4 subsequent occasions as reruns throughout the lifetime of the Satellaview.

#### Broadcast dates

| Date | Chapter title | Notes |
| --- | --- | --- |
| August 6, 1995 | *BS The Legend of Zelda: Episode 1* (BSゼルダの伝説 第1話, *BS Zelda no Densetsu: Dai 1 Wa*) | Original release |
| August 13, 1995 | *BS The Legend of Zelda: Episode 2* (BSゼルダの伝説 第2話, *BS Zelda no Densetsu: Dai 2 Wa*) | Original release |
| August 20, 1995 | *BS The Legend of Zelda: Episode 3* (BSゼルダの伝説 第3話, *BS Zelda no Densetsu: Dai 3 Wa*) | Original release |
| August 27, 1995 | *BS The Legend of Zelda: Episode 4* (BSゼルダの伝説 第4話, *BS Zelda no Densetsu: Dai 4 Wa*) | Original release<br>Prizes: Collecting 8 pieces of Triforce wins a player a "secret membership card" (秘密の会員証, *himitsu no kaiinshō*) for admission to the locked *Nichibutsu Casino* game available October 1, 1995. 50 top scoring players selected by lottery win an 8M Memory Pack |

| Dates | Chapter title | Notes |
| --- | --- | --- |
| December 30, 1995 - December 31, 1995 | *BS The Legend of Zelda: Map 2 - Episode 1* (BSゼルダの伝説MAP2 第1話, *BS Zelda no Densetsu MAP 2: Dai 1 Wa*) | Original release |
| January 1, 1996 - January 2, 1996 | *BS The Legend of Zelda: Map 2 - Episode 2* (BSゼルダの伝説MAP2 第2話, *BS Zelda no Densetsu MAP 2: Dai 2 Wa*) | Original release |
| January 3, 1996 - January 4, 1996 | *BS The Legend of Zelda: Map 2 - Episode 3* (BSゼルダの伝説MAP2 第3話, *BS Zelda no Densetsu MAP 2: Dai 3 Wa*) | Original release |
| January 5, 1996 - January 6, 1996 | *BS The Legend of Zelda: Map 2 - Episode 4* (BSゼルダの伝説MAP2 第4話, *BS Zelda no Densetsu MAP 2: Dai 4 Wa*) | Original release |

### Reception and legacy

By all accounts, the popular reaction to *BS Zelda no Densetsu* was overwhelmingly positive. During the lead-up to its August 6 release, Nintendo described the games as being the "biggest buzz of the summer", and the release of the game generated such hype that St.GIGA was inundated with postcards and faxes from excited fans. Due to the game's "amazing popularity", discussion during the King of Summer (夏休みの王様, *Natsuyasumi no Ō-sama*) SoundLink Magazine broadcasts was dominated by the subject throughout the month of August. With the "whirlpool of excitement across the country" growing stronger rather than diminishing, it was decided that a September rerun would be made available for fans that had missed the initial run.

The September rerun did little to satisfy fans - instead yet more new players became interested during September's broadcasts. To satisfy continued interest in the game, it was decided that a second rerun would be broadcast during the month of October due to popular demand A third rerun was again broadcast during the month of November, and in late December 1996 fans voted by an overwhelming majority to broadcast a fourth rerun of *BS Zelda* as the "Player's Choice Classic SoundLink Game" for January 1997.

The development goal of creating a communal sense of simultaneous game-play was considered to have been met and magazines such as *Digital Magazine Busters* announced that the game had set records for the greatest number of people simultaneously playing a single game.

Due to the great successes of the game Nintendo undertook the development of a remixed version of *BS Zelda no Densetsu* that would be entitled *BS Zelda no Densetsu: MAP2*. Featuring all-new dungeon layouts and altered positions of items and locations in the overworld, *BS Zelda: MAP2* represented the functional equivalent of the "Second Quest" portion of the original *The Legend of Zelda*. This sequel broadcast was in turn rerun once during March 1996.

The successes and popularity of SoundLink Games such as *BS Zelda* and *Super Bombliss* are directly responsible for further developments in the field of SoundLink Games including such titles as *Itoi Shigesato no Bass Tsuri No. 1*. The first two *BS Zelda* games would also serve as the direct forerunners of the later-broadcast *BS Zelda no Densetsu: Inishie no Sekiban*.

#### Emulation

Due to the short-lived nature of the game and the fact that the gameplay is intimately connected to the vocal SoundLink files that were broadcast into RAM and were thus incapable of digital preservation by receiving Satellaview-owners, the game cannot currently be played in its original form. Despite this, however, a small subculture of collectors and enthusiasts devoted to the restoration of these games have successfully managed to dump the digital information originally downloaded to and saved on the Satellaview's 8M memory packs. As temporally limited games, the copies of *BS Zelda* that had been saved on 8M Memory Packs were initially intended by Nintendo and St.GIGA to be over-written, by players, with later games. The fortuitous preservation of these 8M Memory Packs is responsible for all subsequent emulation efforts related to the games.

Since the last broadcasts of *BS Zelda* (in January 1997) and *BS Zelda: MAP2* (in March 1996), restoration-minded fans have created numerous patches that have been applied to the original ROM dumps to alter the game by removing the game's download pauses and time limits, stringing together all four episodes into one, and providing a title screen and file selection screen, among others. Some patches have also replaced the game's protagonist with Link, the hero of the original *The Legend of Zelda* in order to more closely mimic this game. Due to the lack of the sound files, the "Listen closely" segments are sometimes altered to be replaced with a display showing the text of the narration that originally accompanied the event. Some MSU-1 emulation projects have introduced fan-made voice acting of the original script. Other restorations eschew the Satellaview options and favor an approach closer to making the game a 16-bit remake of the original Famicom *The Legend of Zelda*. The game has been translated by fans into English, French, Spanish, and German.

## *BS Zelda no Densetsu: Inishie no Sekiban*

| BS Zelda no Densetsu<br>Inishie no Sekiban | |
| --- | --- |
|  | |
| Developer(s) | Nintendo R&D2 |
| Publisher(s) | St.GIGA |
| Series | *The Legend of Zelda* |
| Platform(s) | Super Famicom with Satellaview add-on |
| Release | * JP: March 30, 1997 |
| Genre(s) | Action-adventure |
| Mode(s) | Time-restricted single-player with multiplayer scoreboards |

***BS Zelda no Densetsu: Inishie no Sekiban*** (BSゼルダの伝説 古代の石盤, lit. *BS The Legend of Zelda: Ancient Stone Tablets*) is an action-adventure video game first broadcast to Satellaview owners, in March–April 1997 and rebroadcast as reruns at least 3 times. It is the third game in the *BS Zelda* series and as with the two previously broadcast *BS Zelda* spin-off games, *BS Zelda no Densetsu* and *BS Zelda no Densetsu: MAP2*, it also does not feature Link as the protagonist but instead utilizes the player's avatar from the inter-related Satellaview game, *BS-X*. For this reason it is also generally considered to be a spin-off title from the main Zelda series. Stylistically similar to *The Legend of Zelda: A Link to the Past* for the SNES, *BS Zelda no Densetsu: Inishie no Sekiban* is also occasionally regarded as an enhanced remake of this title. This conception most likely arises from the stylistic similarities of the games and the fact that the game is no longer playable in its original form and thus the differing plot of the game is more or less unknown to the general gaming public.

The game's title derives the "BS" portion of its name from the Broadcast Satellite system through which the game was transmitted by the distributor, St.GIGA, to Satellaview owners between the date of first broadcast in March 1997 and the last broadcast in May 1999. As a Satellaview SoundLink Game, broadcasts for *BS Zelda: Inishie no Sekiban* were composed of both a discretely quantifiable portion of game code and, as with the earlier *BS Zelda* games, a continually streaming vocal track employing the voices of voice actors. This would be the last SoundLink Game to be broadcast via Satellaview marking the end of a 4-year period of SoundLink broadcasts, and it was one of the last Satellaview games to be broadcast under Nintendo's direct control.

### Plot

Set six years after the events in *The Legend of Zelda: A Link to the Past*, the story of *Inishie no Sekiban* begins when the character avatar from the distant Town Whose Name Has Been Stolen (それは名前を盗まれた街, *Sore wa Namae o Nusumareta Machi*) enters a mysterious-looking Fortune teller's house (占い師の館, *Uranai-shi no Yakata*) that has appeared in the town. Finding only a magical golden bee, the avatar follows after it and enters the back of the house where strong magic whisks the youth off to the Land of Hyrule where Princess Zelda's dreams have been troubled.

Discovering the youth collapsed on the ground, Zelda and her aged companion Aginah (アジナ) (a character from *A Link to the Past* \- brother of the more memorable Sahasrala) revive the child and discuss the recent and troubling premonitions they have felt concerning Ganon's return. A few moments later a soldier arrives and announces that Ganon's evil forces have returned. Aginah and Zelda explain that Link has left the country and they ask the child to help obtain the eight "Ancient Stone Tablets". It is believed that if the hero/heroine can obtain these tablets, the message in them will reveal an ancient secret capable of defending Hyrule from Ganon and his army.

As the youth travels through Hyrule collecting items and stone tablets, support comes from afar by telepathic communications from Aginah (voiced by Kōji Yada (矢田 耕司)), the fortune teller (Yasuhiro Takato (高戸 靖広)), Princess Zelda (Mariko Kōda (國府田 マリ子)), the Hyrulian soldier (Moriya Endou (遠藤 守哉)), and even the narrator of the game (Hiroshi Isobe (磯辺 弘)). As the hero fights through the various dungeons, the land of Hyrule lends its powers to the child at certain pre-set points in the Zelda Time (ゼルダTIME) that controls the youth's access to the land. Aginah and the fortune teller explain these matters to the youth whom Zelda identifies as the "Hero of Light" (光の勇者) spoken of in legends.

Thus, the Hero of Light sets out to collect the Ancient Stone Tablets, traveling in the same Hyrule depicted in *A Link to the Past*. After collecting the Tablets and drawing the Master Sword from its pedestal in the Lost Woods, the Hero of Light, along with Zelda, climbs to the summit of Death Mountain to an ancient monument. Zelda translates the tablets using the Book of Mudora discovered in the basement of Link's House and the monument then cracks, revealing the Silver Arrow and Sacred Bow. This, Zelda says, is what the Hero of Light needs to defeat Ganon. Finally, a red portal opens up and reveals the way into the Dark World, where Ganon resides.

The Hero of Light enters Ganon's Tower and battles Ganon, defeating him with the Silver Arrow. After retreating back to Hyrule, Zelda reveals that although Link had sealed Ganon's body away forever in the Dark World by defeating him 6 years ago, Ganon's malicious essence had not been sealed. It was through this evil energy that the Hero of Light was pulled into Hyrule. The Hero then returns the Master Sword to its resting place in the Lost Woods, leaves Zelda and Aginah, and returns to The Town Whose Name Has Been Stolen in a flash of light.

### Gameplay

The gameplay dynamics of *BS Zelda: Inishie no Sekiban* are most closely comparable to *A Link to the Past*. However, as with the previous *BS Zelda* titles, there are a number of major differences that make play-through for the two games substantially different. Notable among these were the renewed uses of streaming SoundLink vocal data and strict time limits and the game's episodic nature, as previously featured in the earlier *BS Zelda* games.

The use of SoundLink in *Inishie no Sekiban* demonstrated a degree of maturity over the previous *BS Zelda* games, insofar as they allowed a more natural and flowing playthrough without the pauses and delays that characterized vocal messages in *BS Zelda*. Rather than displaying a "Listen Closely" sign and pausing gameplay, the player could continue to move about during voice messages in *Inishie no Sekiban*. The plot that was developed through vocal files was also considerably more intricate, with important plot details revealed in dialogue only spoken during playthrough. The voice cast also grew in number from three people in *BS Zelda* to a cast of five, and fully voiced side-quest events and cut-scenes were also added at the beginning and end.

The game again renewed its use of the in-game 1-hour-long "Zelda Time" clock as previously employed in earlier *BS Zelda* games. At various pre-set points in Zelda Time special events would occur such as the appearance of fairies, the casting of magical attacks such as Bombos or Ether, and the granting of unlimited munitions to the Hero of Light for a limited duration. At other times, plot-related events would occur (such as Princess Zelda being attacked by monsters or the priest falling into the river), the weather would change (fog or rain), and enemies would spring forth in great profusion. Most time-linked events would be explained to the player via SoundLink so the player would not miss important events such as the side-quests.

As with the earlier *BS Zelda* titles, *Inishie no Sekiban* was divided into four weekly episodes broadcast in episodic installments. Once again episodes were named using the basic Satellaview suffixes described above, and broadcast only during a narrow 1-hour window. In addition, each episode once again limited players to a certain restricted playing area by withholding necessary items to ensure a paced gameplay experience and to enable a close tailoring of SoundLink plot details to the events unfolding in new areas of the overworld map. The overworld in *Inishie no Sekiban* is roughly identical to that in *A Link to the Past* except that it features cloud coverage to demarcate the areas that are explorable by the Hero of Light.

As in the previous *BS Zelda* titles, the player's name and gender are selected in the Satellaview game-selection interface, *BS-X*. This initial selection again carries across to the game, and the characters themselves are nameless in-game referred to by other characters as either the "Hero of Light" or simply "child"/"youth". The appearance of the Satellaview avatar has been updated for *Inishie no Sekiban* from the smaller version used in the earlier *BS Zelda* games in a manner consistent with *A Link to the Past'*s differences from the original *The Legend of Zelda*.

Several recurring features unique to *Inishie no Sekiban* were introduced to the game including the addition of thieves that sell the Hero of Light munition upgrades, rental shops that rent shovels and sword upgrades, gambling minigames to increase rupee/score count, and the mysterious Mole character that if spoken to will uncover a grotto filled with many hundreds of rupees. The Mole in particular represents a noteworthy characteristic of the game as the location of the Mole and the Mole's grotto changed for subsequent rerun broadcasts. Thus, whereas reruns of the earlier *BS Zelda* games were identical in content to prior broadcast runs, reruns of *Inishie no Sekiban* contained original non-header content that could be used to identify the specific date of broadcast.

Other differences between *Inishie no Sekiban* and *A Link to the Past* (and the other *BS Zelda* titles) include the alteration of items from the past such as the Pegasus Boots which could now enable the player to change directions while running, and to move between rooms and screens without automatically stopping as in *A Link to the Past*. The dungeon items were also modified so that instead of pendants and crystals the player now collected the eight titular Ancient Stone Tablets. Slight game-dynamics alterations were made for *Inishie no Sekiban* as well, including the removal of cracked bombable walls and their replacement with walls that could be tested for weaknesses by sounding them with the sword as first used in *Link's Awakening*.

As in the previous *BS Zelda* games, players received a score for successful completion of in-game objectives. Factors weighing into the score included the opening of treasure chests, completion of the side-quest event, talking to the Mole, and the collection of rupees, small keys, pieces of heart, dungeon items, heart containers, special items, and tablets. Negative factors included the passage of each minute of "Zelda Time" prior to the collection of the 2 weekly tablets, the loss of hearts, and game-overs. Though scoring had no effect on gameplay, there were other post-game benefits. At the end of each hour of play the player was given a score readout. By submitting these game high scores in the form of a password player scores would be recorded by Nintendo. If the player scored high enough in comparison to other players during that week, the score and the player's name would be reported and the player could sometimes win prizes such as memory packs.

### Development

#### Broadcast dates

| Dates | Chapter title | Notes |
| --- | --- | --- |
| March 30, 1997 - April 5, 1997 | *BS The Legend of Zelda: Ancient Stone Tablets - Episode 1* (BSゼルダの伝説 古代の石盤 第1話, *BS Zelda no Densetsu: Inishie no Sekiban ~Dai 1 Wa~*) | Original release<br>Prize: The 5 top-scoring players each week win 8M Memory Packs |
| April 6, 1997 - April 12, 1997 | *BS The Legend of Zelda: Ancient Stone Tablets - Episode 2* (BSゼルダの伝説 古代の石盤 第2話, *BS Zelda no Densetsu: Inishie no Sekiban ~Dai 2 Wa~*) | Original release<br>Prize: The 5 top-scoring players each week win 8M Memory Packs |
| April 13, 1997 - April 19, 1997 | *BS The Legend of Zelda: Ancient Stone Tablets - Episode 3* (BSゼルダの伝説 古代の石盤 第3話, *BS Zelda no Densetsu: Inishie no Sekiban ~Dai 3 Wa~*) | Original release<br>Prize: The 5 top-scoring players each week win 8M Memory Packs |
| April 20, 1997 - April 26, 1997 | *BS The Legend of Zelda: Ancient Stone Tablets - Episode 4* (BSゼルダの伝説 古代の石盤 第4話, *BS Zelda no Densetsu: Inishie no Sekiban ~Dai 4 Wa~*) | Original release<br>Prize: The 5 top-scoring players each week win 8M Memory Packs |

### Reception and legacy

As with the prior *BS Zelda* games, *Inishie no Sekiban* was also well received, winning official recognition by Nintendo for gaining a spot among the Top 30 Player's choice votes for BS titles. The Korean Game Developer's Conference would later cite *Inishie no Sekiban* as one of the Satellaview titles primarily responsible for fostering a sense of collegial competition between Japanese players through St.GIGA's publishing of score ranking tables. The successes of the game among the gaming public prompted Nintendo and St.GIGA's rebroadcasting it again for three additional reruns. Reruns were broadcast in June 1997, in December 1998, and to mark the dissolution of the partnership between St.GIGA and Nintendo as the final SoundLink Game ever broadcast via Satellaview in May 1999.

#### Emulation

Because the game could only be played during certain predetermined hours due to constraints imposed by the use of SoundLink content, game data was saved to 8M Memory Packs as temporary files that were originally intended to be deleted and over-written with later game data. In addition, SoundLink data itself was streamed to players and thus only saved as volatile RAM which was overwritten during gameplay and ultimately lost as soon as the Satellaview was turned off. For these reasons and the fact that the game has never been re-released in hard-copy, *Inishie no Sekiban* cannot currently be played in its original form. Despite these setbacks, however, a small subculture of collectors and enthusiasts devoted to the restoration of Satellaview and *Zelda* games have managed to create ROM emulations from dumped materials stored on 8M Memory Packs that were not over-written by their owners. A 4-week version has been completed from dumped material and is currently playable as four separate ROMs, however several alternate versions of the game (as defined by weekly positioning of the Mole character) have not been yet been recovered and may be lost forever.

The emulated versions of the *BS Zelda* games that exist online fall into a legal grey area as they contain proprietary material (such as the use of Zelda and Ganon graphics designed by Nintendo) but do not have a substantial effect upon the work's value considering that Nintendo has ceased support for the games and has never released them in hard-copy. In addition, emulated versions that exist today commonly contain thorough attribution giving credit to Nintendo, St.GIGA, and all original production staff. Whatever the legal status of the games, Nintendo has turned a blind eye to the existence of Satellaview emulations.

## *Zelda no Densetsu: Kamigami no Triforce*

Between March 2, 1997 and May 29, 2000, St.GIGA frequently broadcast a ported version of the original Super Famicom *The Legend of Zelda: A Link to the Past*, called *The Legend of Zelda: Triforce of the Gods* (ゼルダの伝説 神々のトライフォース, *Zelda no Densetsu: Kamigami no Triforce*) in Japan. Unlike the *BS Zelda* broadcasts and *Inishie no Sekiban*, the Satellaview version of *Kamigami no Triforce* was not a SoundLink Game, did not feature the BS-X avatars as main characters (but rather used Link as in the original), and it was not divided into episodes. More importantly, it was not limited to play-through during a 1-hour block of "Zelda Time" but could instead be downloaded and played at the player's convenience. Whereas the *BS Zelda* games and *Inishie no Sekiban* were strictly limited to this 1-hour block and would be rendered unplayable after the time block had expired, the Satellaview version of *Kamigami no Triforce* (like a large number of other non-SoundLink titles for the Satellaview) instead utilized an internal play-through counter that would tick down from 5 to 0 for each time the game was played. On reaching 0, the game would be locked and would need to be re-downloaded in order to continue playing.

Apart from the play-through limit and the fact that the game took a purely digital form, the differences between the Satellaview version and the original Super Famicom version of *Kamigami no Triforce* were exceptionally minor. Such differences include the addition of "header" info to the Satellaview version and the use of slightly different code for the start menu. Although these differences are minor, emulated versions of the Satellaview version of *Kamigami no Triforce* have been dumped and can be found online.

Due to Nintendo's original partnership agreement with St.GIGA and because the Satellaview version of *Kamigami no Triforce* was not a SoundLink title, broadcasts of the game continued for several months after the dissolution of the partnership until St.GIGA finally ceased broadcasts in June 2000. Although the downloadable data was in fact material directly produced by Nintendo, this would mark the only time since Nintendo's deal with Philips in 1993 that *Zelda* video games would be distributed without the direct control of Nintendo.

### Broadcast dates

| Dates | Title | Notes |
| --- | --- | --- |
| March 2, 1997 - March 29, 1997 | *The Legend of Zelda: Triforce of the Gods* (ゼルダの伝説 神々のトライフォース, *Zelda no Densetsu: Kamigami no Triforce*) | Original run (broadcast twice daily for 30 minutes each) |

1. The earlier CD-i titles were not sponsored by Nintendo and are considered by fans to lack canonicity.
2. This plot point is the source of some fan disagreement with the canonicity of the game as the ending sequence from its predecessor, *A Link to the Past*, clearly states "And the Master Sword sleeps again... FOREVER!" (Nintendo EAD (21 Nov 1991). *The Legend of Zelda: A Link to the Past* (SNES). Nintendo.)
3. The term "Hero of Light" (光の勇者, *hikari no yuusha*) is a gender-neutral construction in Japanese.
4. The portion of the ROM data known as the "header" was different for every new broadcast as the header portion contained the broadcast date.
5. This ability of the Pegasus Boots evokes the same ability granted to the Satellaview avatar when wearing the Dash Shoes (ダッシュシューズ) purchasable in-game in *Sore wa Namae o Nusumareta Machi no Monogatari*.

## InfoBox

| BS Zelda no Densetsu | |
| --- | --- |
|  | |
| Developer(s) | Nintendo R&D2 |
| Publisher(s) | St.GIGA |
| Designer(s) | Shigeru Miyamoto<br>Takashi Tezuka |
| Series | *The Legend of Zelda* |
| Platform(s) | Satellaview |
| Release | **MAP1**<br>* JP: August 6, 1995 **MAP2*** JP: December 30, 1995 |
| Genre(s) | Action-adventure |
| Mode(s) | Time-restricted single player with multiplayer scoreboards |


title: Daniel Goneau

abstract: Daniel Goneau is a Canadian former professional ice hockey player. He played in 53 games the National Hockey League with the New York Rangers from 1996 to 2000. The rest of his career, which lasted from 1996 to 2009, was mainly spent in the minor leagues.

text:
# Daniel Goneau

**Daniel Goneau** (born January 16, 1976) is a Canadian former professional ice hockey player. He played in 53 games the National Hockey League with the New York Rangers from 1996 to 2000. The rest of his career, which lasted from 1996 to 2009, was mainly spent in the minor leagues.

## Biography

As a youth, Goneau played in the 1990 Quebec International Pee-Wee Hockey Tournament with a minor ice hockey team from Verdun, Quebec.

Goneau was originally drafted by the Boston Bruins at the 1994 NHL Entry Draft, but chose not to sign with them. Two years later, he was drafted by the Rangers in the 1996 NHL Entry Draft. Goneau played in 41 games during the 1996–97 NHL season, collecting ten goals and three assists for 13 points. The following season he played in only 11 games scoring twice, while spending most of the season with the Rangers' American Hockey League (AHL) affiliate, the Hartford Wolf Pack. After spending the entire 1998–99 season with the Wolf Pack, Goneau returned for one more game during the 1999–2000 season which proved to be his final game in the NHL.

Goneau later played in the AHL, the International Hockey League and the United Hockey League, before retiring in 2008. He also played in the United Kingdom for the Bracknell Bees during the 2001–02 ISL season, scoring 15 points in as many games.

## Career statistics

### Regular season and playoffs

|  | | |  | Regular season | | | | |  | Playoffs | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Season | Team | League | | GP |  |  | Pts | PIM | | GP | G | A | Pts | PIM |
| 1990–91 | Laval Leafs | QAHA | | 32 | 16 | 18 | 34 | 20 | |  |  |  |  |  |
| 1991–92 | Lac St-Louis Lions | QMAAA | | 42 | 21 | 14 | 35 | 52 | | 14 | 1 | 4 | 5 | 6 |
| 1992–93 | Laval Titan | QMJHL | | 62 | 16 | 25 | 41 | 44 | | 13 | 0 | 4 | 4 | 4 |
| 1992–93 | Laval Titan | M-Cup | |  |  |  |  |  | | 5 | 0 | 4 | 4 | 4 |
| 1993–94 | Laval Titan | QMJHL | | 66 | 28 | 57 | 85 | 81 | | 19 | 8 | 21 | 29 | 45 |
| 1993–94 | Laval Titan | M-Cup | |  |  |  |  |  | | 5 | 5 | 2 | 7 | 10 |
| 1994–95 | Laval Titan Collège Français | QMJHL | | 56 | 16 | 31 | 47 | 78 | | 20 | 5 | 10 | 15 | 33 |
| 1995–96 | Granby Prédateurs | QMJHL | | 67 | 54 | 51 | 105 | 115 | | 21 | 11 | 22 | 33 | 40 |
| 1995–96 | Granby Prédateurs | M-Cup | |  |  |  |  |  | | 4 | 3 | 2 | 5 | 4 |
| 1996–97 | New York Rangers | NHL | | 41 | 10 | 3 | 13 | 10 | |  |  |  |  |  |
| 1996–97 | Binghamton Rangers | AHL | | 39 | 15 | 15 | 30 | 10 | |  |  |  |  |  |
| 1997–98 | New York Rangers | NHL | | 11 | 2 | 0 | 2 | 4 | |  |  |  |  |  |
| 1997–98 | Hartford Wolf Pack | AHL | | 66 | 21 | 26 | 47 | 44 | | 13 | 1 | 4 | 5 | 18 |
| 1998–99 | Hartford Wolf Pack | AHL | | 72 | 20 | 19 | 39 | 56 | | 2 | 1 | 0 | 1 | 0 |
| 1999–00 | New York Rangers | NHL | | 1 | 0 | 0 | 0 | 0 | |  |  |  |  |  |
| 1999–00 | Hartford Wolf Pack | AHL | | 51 | 15 | 17 | 32 | 48 | | 22 | 1 | 2 | 3 | 6 |
| 2000–01 | Manitoba Moose | IHL | | 58 | 10 | 14 | 24 | 26 | |  |  |  |  |  |
| 2000–01 | Detroit Vipers | IHL | | 15 | 6 | 4 | 10 | 8 | |  |  |  |  |  |
| 2001–02 | ERC Ingolstadt | GER-2 | | 13 | 4 | 5 | 9 | 55 | |  |  |  |  |  |
| 2001–02 | Bracknell Bees | BISL | | 15 | 6 | 9 | 15 | 14 | |  |  |  |  |  |
| 2002–03 | Louisiana IceGators | ECHL | | 48 | 21 | 43 | 64 | 102 | |  |  |  |  |  |
| 2002–03 | Hershey Bears | AHL | | 3 | 0 | 1 | 1 | 0 | |  |  |  |  |  |
| 2002–03 | Richmond Renegades | ECHL | | 8 | 3 | 4 | 7 | 8 | |  |  |  |  |  |
| 2002–03 | Lowell Lock Monsters | AHL | | 13 | 2 | 1 | 3 | 8 | |  |  |  |  |  |
| 2003–04 | Fife Flyers | BNL | | 33 | 22 | 37 | 59 | 42 | | 2 | 1 | 0 | 1 | 2 |
| 2004–05 | Épinal | FRA | | 25 | 9 | 16 | 25 | 81 | | 4 | 1 | 3 | 4 | 72 |
| 2005–06 | Chiefs de Laval | LNAH | | 52 | 23 | 39 | 62 | 42 | | 5 | 2 | 5 | 7 | 4 |
| 2006–07 | Fort Wayne Komets | UHL | | 69 | 22 | 35 | 57 | 77 | | 10 | 2 | 6 | 8 | 8 |
| 2007–08 | Saint-François de Sherbrooke | LNAH | | 25 | 7 | 10 | 17 | 20 | |  |  |  |  |  |
| 2007–08 | Isothermic de Thetford Mines | LNAH | | 22 | 6 | 14 | 20 | 12 | |  |  |  |  |  |
| 2008–09 | VEU Feldkirch | AUT-2 | | 22 | 16 | 11 | 27 | 78 | | 8 | 3 | 3 | 6 | 20 |
| AHL totals | | | | 244 | 73 | 79 | 152 | 166 | | 37 | 3 | 6 | 9 | 24 |
| NHL totals | | | | 53 | 12 | 3 | 15 | 14 | |  |  |  |  |  |

## InfoBox

| Daniel Goneau | | | |
| --- | --- | --- | --- |
| Born | (1976-01-16) January 16, 1976
Montreal, Quebec, Canada | | |
| Height | 6 ft 0 in (183 cm) | | |
| Weight | 194 lb (88 kg; 13 st 12 lb) | | |
| Position | Left wing | | |
| Shot | Left | | |
| Played for | New York Rangers
Bracknell Bees
Épinal | | |
| NHL draft | 47th overall, 1994
Boston Bruins
48th overall, 1996
New York Rangers | | |
| Playing career | 19962009 | | |


title: CIBC Capital Markets

abstract: CIBC Capital Markets is the investment banking subsidiary of the Canadian Imperial Bank of Commerce. The firm operates as an investment bank both in Canadian and global equity and debt capital markets. The firm provides a variety of financial services including equity and debt capital market products, mergers and acquisitions, global markets, merchant banking, and other investment banking advisory services. Established via a series of acquisitions, including Canadian brokerage Wood Gundy and U.S.-based Oppenheimer & Co., CIBC Capital Markets has been a leading investment bank in Canada with a notable presence in various international markets at times over the years. CIBC Capital Markets is headquartered at CIBC Square in Toronto with offices in Calgary, Montreal, Vancouver, Winnipeg, New York City, Chicago, Houston, Milwaukee, Bogota, Beijing, Hong Kong, London, Luxembourg, Singapore, Sydney and Tokyo.

text:
# CIBC Capital Markets

**CIBC Capital Markets** is the investment banking subsidiary of the Canadian Imperial Bank of Commerce. The firm operates as an investment bank both in Canadian and global equity and debt capital markets. The firm provides a variety of financial services including equity and debt capital market products, mergers and acquisitions, global markets (sales and trading), merchant banking, and other investment banking advisory services.

Established via a series of acquisitions, including Canadian brokerage Wood Gundy and U.S.-based Oppenheimer & Co., CIBC Capital Markets has been a leading investment bank in Canada with a notable presence in various international markets at times over the years.

CIBC Capital Markets is headquartered at CIBC Square in Toronto with offices in Calgary, Montreal, Vancouver, Winnipeg, New York City, Chicago, Houston, Milwaukee, Bogota, Beijing, Hong Kong, London, Luxembourg, Singapore, Sydney and Tokyo.

## History

### CIBC Wood Gundy

The original Wood Gundy company was established in Toronto in 1905 by George Herbert Wood and James Henry Gundy. CIBC purchased a majority stake in Wood Gundy in June 1988 for C$203.3 million. After the purchase, the CIBC formed CIBC Wood Gundy, which offered asset management services for corporate and institutional clients. Two years later, in 1990, they continued to expand the Canadian securities business by acquiring much of Merrill Lynch & Company's Canadian business. In 1997, Wood Gundy acquired Eyers Reed, an Australian broker firm for $20 million.

### Acquisition of Argosy Group

In April 1995, CIBC Wood Gundy announced the acquisition of The Argosy Group, a New York-based investment banking firm involved primarily in the high-yield debt market. Argosy had been founded by three Drexel Burnham Lambert alumni: Jay Bloom, Andrew Heyer, and Dean Kehler, who had worked together in Drexel's New York office in the 1980s.

The acquisition of Argosy marked an aggressive push by CIBC into the US investment banking business. Prior to that point, CIBC had never done a junk bond deal. Argosy's three major principals had worked on some of the biggest junk-bond deals of the 1980s while at Drexel Burnham Lambert. The 52 Argosy employees constituted the core of what would become CIBC's High Yield Group and CIBC Argosy Merchant Banking funds that were responsible for, among other things, the $1 billion windfalls that CIBC would earn from its early investments in Global Crossing. The Argosy principals also managed two collateralized debt obligation vehicles known as Caravelle Funds I and II.

### CIBC Oppenheimer

In 1997, CIBC Wood Gundy, under the direction of Michael S. Rulle, acquired the American brokerage house Oppenheimer & Co. for $585 million. Subsequently, the merged companies were called CIBC Oppenheimer; Rulle remained the chairman and chief executive of the company while Stephen Robert and Nathan Gantcher of Oppenheimer became vice-chairmen of CIBC Oppenheimer. According to the deal, CIBC paid $350 million and additionally provided a $175 million that was paid in the course of over three years to help retain key executives from the firm.

### Creating the CIBC Capital Markets platform

By 1999, CIBC Oppenheimer changed its name to CIBC Capital Markets and positioned itself as CIBC's international investment bank. The CIBC Capital Markets unit suffered a net loss of C$186 million during the fourth quarter of fiscal 1998 which dragged down the performance of the parent bank's stock by almost one-third. The loss in 1998 was due primarily to very rapid expansion into regions impacted by the various financial crises in 1998. As a result, CIBC Capital Markets refocused its efforts primarily on the U.S. and Canadian markets, despite the seemingly global ambitions implied in the unit's name.

CIBC Capital Markets reached a peak in 1999 and 2000, when the investment bank cracked the top ten of U.S. issuers of high yield bonds and the top twenty in mergers and acquisitions advisory. In 1999, CIBC Capital Markets backed Gary Winnick and his company Global Crossing to build optical fiber cable connections under the ocean. In 2000, CIBC realized a gain of $2.0 billion from its relatively small equity investment in Global Crossing, representing more than 20% of the bank's profits. On the back of the success in Global Crossing, CIBC backed the three heads of its CIBC Argosy Merchant Banking funds in a new private equity operation known as Trimaran Capital Partners. Trimaran closed on a $1 billion fund in April 2001, with capital provided primarily by CIBC.

In June 2001, CIBC announced the construction of a new $800 million office tower at 300 Madison Avenue (At the corner of Madison Avenue and 42nd Street). The 35-story, 1,200,000-square-foot (110,000 m2) building was originally expected to house up to 3,000 employees, bringing CIBC's entire New York staff under one roof. When the 300 Madison building was completed in 2004, CIBC's diminished workforce took up only a few floors, leasing the remainder to PriceWaterhouseCoopers.

### Challenges at CIBC Capital Markets

In July 2001, *The Wall Street Journal* profiled CIBC Capital Markets, chronicling the rapid decline of the bank from the peaks of Wall Street's league table rankings. By 2002, CIBC was forced to set aside C$1.5 billion for bad corporate loans, primarily from CIBC Capital Markets and the bank was linked two of the most famous victims of the corporate accounting scandals of the early 2000s: Enron Corporation and Global Crossing. As a result of these developments, the parent bank implemented a strategy to reallocate resources away from the riskier CIBC Capital Markets division in favor of its retail operations.

As part of this strategy, in 2003, CIBC sold an asset management division along with retail brokerage to Fahnestock Viner along with the Oppenheimer & Co. name. Also in September 2003, a jury found that CIBC had failed to provide complete financial information to investors in a high-yield bond offering. Just a few months later, at the end of 2003, CIBC reached an $80 million settlement with the Securities and Exchange Commission over its various financings for Enron, representing far more than the bank had earned in fees.

### Sale to Oppenheimer & Co. (Fahnestock Viner)

In November 2007, Oppenheimer & Co. (Fahnestock) announced that it would purchase a major part of CIBC Capital Markets' U.S. Investment Banking, Corporate Syndicate, Institutional Sales and Trading, Equity Research, Options Trading and a portion of the Debt Capital Markets business which includes Convertible Bond Trading, Loan Syndication, High Yield Origination, and Trading as well as related operations located in the UK, Israel, and Hong Kong. The deal closed January 14, 2008, and essentially reunited the original Oppenheimer & Co. which CIBC divided into the sale to Fahnestock.

On February 29, 2008, CIBC Capital Markets Chairman and Chief Executive Officer Brian Shaw was replaced in both capacities by Richard Nesbitt, a former TSX Group CEO.

## Competition

CIBC Capital Markets faces competition from major global investment banks such as Goldman Sachs, Morgan Stanley and the RBC Capital Markets, equivalent branches of other financial conglomerates such as BMO Capital Markets, and TD Securities, and other independent/boutique investment banks and large cap advisory firms such as the corporate finance practices of Deloitte and KPMG.

## Notable current and former employees

* Geoff Belsher and Harry Culham, Co-Chair of CIBC Capital Markets
* Henry Blodget, Equity Research Analyst.
* Meredith Whitney, Equity Research Analyst.
* Guy Adami, TV personality, author, financial analyst and professional investor
* Jeff Rubin, former chief economist, author of *Why Your World Is About to Get a Whole Lot Smaller*.

## InfoBox

CIBC Capital Markets
|
|  |
| Company type | Subsidiary |
| Industry | Investment banking |
| Predecessors | Wood Gundy
The Argosy Group
Oppenheimer & Co. |
| Founded | 1988 |
| Headquarters | Toronto, Ontario, Canada |
| Products | Investment Banking, Sales and trading, Capital markets |
| Revenue | C$2.90 billion (2016) |
| Net income | C$1.08 billion (2016) |
| Total assets | C$162.8 billion (2016) |
| Number of employees | 1,100 |
| Parent | Canadian Imperial Bank of Commerce |
| Website | cibccm.com |


title: John Winneke

abstract: John Spence Winneke, was a judge of the Supreme Court of Victoria and President of the Court of Appeal of the Supreme Court of Victoria, which is the highest ranking court in the Australian state of Victoria.

text:
# John Winneke

**John Spence Winneke**, AC, RFD, QC (19 March 1938 – 4 April 2019) was a judge of the Supreme Court of Victoria and President of the Court of Appeal of the Supreme Court of Victoria, which is the highest ranking court in the Australian state of Victoria.

## Early life

John Spence Winneke was the son of Sir Henry Winneke who was Solicitor-General for the State of Victoria, Chief Justice of Victoria, and Governor of Victoria. John Winneke's grandfather, Henry Christian Winneke, was a judge of the County Court of Victoria.

Winneke was educated at Scotch College and the University of Melbourne, where he was a Member of the *Melbourne University Law Review*. When he completed his legal studies, he completed his articles with Josh Shaw of the law offices of Middleton McEarchern Shaw and Birch. He was admitted to practice as a solicitor on 1 March 1962. He was called to the Victorian Bar in 1962. He was appointed a Queen's Counsel in 1976.

Winneke was also an outstanding Australian rules football player, who was ruckman in Hawthorn's inaugural VFL Premiership side in 1961, playing a total of 50 games for the club.

## Australian Defence Force

Winneke was commissioned as a commander in the Royal Australian Navy. He was also appointed a Defence Force Magistrate and held an appointment as a Reviewing Officer under the Defence Force Discipline Act.

## Noted cases

In 1970, Winneke was counsel assisting William Kaye in the "abortion graft inquiry", which inquired into allegations of corruption involving members of the Victorian Homicide Squad.

In 1981, he was appointed as a Royal Commissioner by the Commonwealth of Australia and the State of Victoria to inquire into the affairs of the Builders Labourers Federation.

He appeared as senior counsel for Michael and Lindy Chamberlain before Justice Morling in the Royal Commission into their convictions for the murder of their infant daughter, Azaria Chamberlain. He appeared as counsel in the Royal Commission into the Westgate Bridge collapse, in the Derwent River Bridge Inquiry, and in the Housing Commission of Victoria Inquiry.

## Judicial career

Winneke was appointed on 7 June 1995 as a judge of the Supreme Court of Victoria and as the first President of the Court of Appeal of the Supreme Court of Victoria when the Court of Appeal was established that year. He was appointed as the acting Chief Justice for a brief period in 2003. He retired from the bench on 15 July 2005.

## Honours

Winneke was awarded an Officer of the Order of Australia (AO) in 1999, and in 2004 was upgraded to the Companion of the Order of Australia (AC). Both were awarded for his significant contributions to the judiciary in Victoria.

## InfoBox

| The HonourableJohn WinnekeAC RFD QC | |
| --- | --- |
|  | |
| President of the Victorian Court of Appeal | |
| **In office**<br>7 June 1995  15 July 2005 | |
|  | |
| Personal details | |
| Born | (1938-03-19)19 March 1938 |
| Died | 4 April 2019(2019-04-04) (aged 81) |
| Nationality | Australian |
| Occupation | Judge, barrister |
|  | |


title: Rachel Stewart

abstract: Rachael Stewart is a Scottish singer and folk dancer. She is one of the founding members of electro-pop group Beauty School and first came to attention in 1997 when she toured with electronic music group Fluke.

text:
# Rachel Stewart

**Rachael Stewart** (born 1973) is a Scottish singer and folk dancer. She is one of the founding members of electro-pop group Beauty School and first came to attention in 1997 when she toured with electronic music group Fluke.

## Life and career

Around 1997, with the release of *Risotto*, Fluke adopted a character from the *Wipeout* computer game, Arial Tetsuo, as their official mascot. Also around this time, the group was looking for a female vocalist to perform with them in their live sets, and Stewart fit both these roles. She is described as a "female version of Keith Flint from The Prodigy". With Fluke's performances in decline, she joined forces with EMF frontman James Atkin, whom she later married, to form Beauty School in 2004. In 2005, Beauty School was joined by Elastica drummer Justin Welch making the band into a three piece.

## Notes and references


title: Desert Vigilante

abstract: Desert Vigilante is a 1949 American Western film directed by Fred F. Sears and written by Earle Snell. The film stars Charles Starrett, Peggy Stewart, Tris Coffin, Mary Newton, George Chesebro and Smiley Burnette. The film was released on April 9, 1949, by Columbia Pictures. This was the forty-second of 65 films in the Durango Kid series.

text:
# Desert Vigilante

***Desert Vigilante*** is a 1949 American Western film directed by Fred F. Sears and written by Earle Snell. The film stars Charles Starrett, Peggy Stewart, Tris Coffin, Mary Newton, George Chesebro and Smiley Burnette. The film was released on April 9, 1949, by Columbia Pictures. This was the forty-second of 65 films in the *Durango Kid* series.

## Plot

## Cast

## InfoBox

| Desert Vigilante | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Fred F. Sears |
| Written by | Earle Snell |
| Produced by | Colbert Clark |
| Starring | Charles Starrett
Peggy Stewart
Tris Coffin
Mary Newton
George Chesebro
Smiley Burnette |
| Cinematography | Rex Wimpy |
| Edited by | Paul Borofsky |
| Production
company | Columbia Pictures |
| Distributed by | Columbia Pictures |
| Release date | * April 9, 1949 (1949-04-09) |
| Running time | 56 minutes |
| Country | United States |
| Language | English |


title: Seán Binder

abstract: Seán Binder is a German-born Irish human rights activist and certified rescue diver who has spent most of his life in Ireland. The son of a refugee father from Vietnam and a German mother, he grew up in Ireland and later studied at universities in Dublin and London. From 2017 to 2018, he volunteered with a humanitarian non-governmental organization on Lesbos island, Greece, assisting refugees arriving in small boats from the nearby Turkish coast. Along with Syrian refugee and human rights activist Sarah Mardini, he was arrested in 2018 and accused by Greek authorities of espionage, aiding illegal immigration and belonging to a criminal organization. These charges have been refuted by human rights organizations such as Amnesty International, denouncing the accusations against Mardini and other humanitarian workers as criminalization of humanitarian acts.

text:
# Seán Binder

**Seán Binder** (born 1996) is a German-born Irish human rights activist and certified rescue diver who has spent most of his life in Ireland. The son of a refugee father from Vietnam and a German mother, he grew up in Ireland and later studied at universities in Dublin and London. From 2017 to 2018, he volunteered with a humanitarian non-governmental organization on Lesbos island, Greece, assisting refugees arriving in small boats from the nearby Turkish coast.

Along with Syrian refugee and human rights activist Sarah Mardini, he was arrested in 2018 and accused by Greek authorities of espionage, aiding illegal immigration and belonging to a criminal organization. These charges have been refuted by human rights organizations such as Amnesty International, denouncing the accusations against Mardini and other humanitarian workers as criminalization of humanitarian acts.

## Early life and education

Binder was born in Germany and moved with his German mother to Castlegregory, a small village on the Western coast of County Kerry, Ireland, at age five. He graduated in political science, economics, sociology and philosophy from Trinity College, Dublin, and also obtained a Master's degree in International Relations at the London School of Economics. Having focussed on conflict management during his studies, he decided to work as a volunteer with a Greek to get practical experience before finding a job. Binder is the son of a German mother and a Vietnamese father, who was a refugee from Vietnam when he met his future wife. This family history has been quoted as one reason for Binder's understanding and empathy with refugees.

In 2017, Bender travelled to Lesbos, a Greek island about 11 km off the Turkish coastline, to volunteer as a lifeguard with Emergency Response Centre International (ERCI), a registered Greek humanitarian NGO for refugees that cooperated with Frontex, the EU’s border management agency, and Greek border authorities. ERCI provided humanitarian aid and organized search-and-rescue operations in the Mediterranean Sea between 2016 and 2018. Further, ERCI had been operating a medical centre in Moria refugee camp, described by Human Rights Watch and other organizations as an "open air prison".

During the 2015 European migrant crisis, Lesbos had become a key entry point for refugees coming from Turkey into the European Union, with approximately 5,000 migrants and refugees, mostly fleeing the civil war in Syria, landing on the island’s beaches per day.

At ERCI, Binder met fellow volunteer Sarah Mardini, a Syrian refugee who had fled from her home country in 2015 via Turkey on a dinghy and found refuge first at Lesbos and later political asylum in Germany. Both of them were assisting newly arrived refugees and used their skills as trained swimmers as part of ERCI until 2018. In February 2018 Binder and another member of ERCI were busy on a routine shift, when police arrived and arrested the two volunteers. Released without charge, Binder continued his former activities.

On 21 August 2018, Sarah Mardini was arrested on Lesbos airport, when she intended to return to Germany. The same day, Binder went to the police station to meet with Mardini and was arrested himself. A third member of the NGO, Nassos Karakitsos was arrested shortly afterwards. Binder and Mardini were handcuffed and taken to a courthouse on Lesbos Island.

According to a report in *The Guardian*, they and two other NGO members were subsequently detained in pre-trial detention in Athens’ high-security Korydallos prison for 106 days. After more than three months in prison, Binder and Mardini were released on 5,000 Euro bail and could leave Greece. Mardini, Binder and further Greek activists for refugees were accused of being members of a criminal organization, human trafficking, money laundering and fraud by Greek authorities. About his time in prison, Binder later said:

> You’re supposedly innocent until proven guilty, but what that means in practice is that I was handcuffed to a guy who had murdered two people. I was in a cell with 17 convicted felons.
>
> Seán Binder, human rights activist accused of illegally helping refugees in Lesbos, Greece,

### Court proceedings

The defendants' lawyers said the Greek authorities failed to produce concrete evidence in support of the accusations. If ultimately convicted, the accused could be sentenced to 25 years in prison. Apart from the 24 former members of ERCI, a number of other humanitarian workers have been facing prosecution in Greece, similar to what happened in Italy, where providing aid to migrants has also been criminalised.

On 18 November 2021, the Mytilene Misdemeanor Court in Lesbos adjourned the legal proceedings against 24 members of ERCI, including Mardini and Binder, "due to lack of jurisdiction of the court" and referred the case to a higher court. On 18 November 2022, Binder, Mardini and Greek fellow defendant Nassos Karakitsos attended their court summons at the first instance court, and declared that they had nothing to add to their earlier statements. Their next trial was set to begin on 10 January 2023, with the accused facing charges classified as misdemeanor crimes, while the felony charges have not been concluded.

The trial of the 24 rescuers, including Binder and Mardini, began on 10 January 2023. On the following 13 January, the court ruled that the charges of espionage against them and the other defendants were at least partially inadmissible, thus following objections by their lawyers. Among other objections, these were the court's initial failure to translate documents for the foreign defendants into a language they could understand as well as faulty documentation of some of the charges. However, the charges of human trafficking remained and the defendants must continue to live in insecurity pending a second trial. According to a report in the German weekly *Die Zeit*, the verdict was not a complete acquittal for Mardini, Binder and the other defendants, but at least an intermediate win, and also a political signal in a procedure that a report by the European Parliament had called the 'currently largest case of criminalizing solidarity in Europe'.

After more than four years of protracted legal procedures by the Greek authorities and personal psychological stress and uncertainty after his first arrest, Binder said he wanted an immediate further trial, in order for him to answer all the felony charges and clear his name. Following the acquittal of the charge of espionage, Binder commented to journalists outside the courtroom:

> We want this case to be heard. We want justice. Today, there has been less injustice, but no justice.
>
> Seán Binder, human rights activist,

## Statements by international human rights organizations

Mary Lawlor, UN Special Rapporteur on the Situation of Human Rights Defenders, criticized the Greek authorities' refusal to allow Mardini to be present at the November 2021 court session and said "The fact that authorities have spent more than three years investigating the case has been a deterrent to civil society working for migrant rights in Greece." With regard to the accusations against Mardini and Binder, she further said: "To what have we come that we go against people who are offering solidarity? A guilty verdict for Ms. Mardini and Mr. Binder would be a dark day for Greece, and a dark day for human rights in Europe."

Giorgos Kosmopoulos, Senior Campaigner on Migration for Amnesty International was quoted as follows: "These trumped-up charges are farcical and should never have resulted in Sarah and Seán appearing in court. Today’s adjournment means that having already waited over three years, this ordeal will continue to drag on for Sarah and Seán, leaving them in limbo. We call for the Greek authorities to uphold their human rights obligations, and drop the charges against Sarah and Seán."


title: C. W. L. Bevan

abstract: Cecil Wilfrid Luscombe "Bill" Bevan, CBE was a Welsh chemist, academic, and academic administrator. He was Principal of University College, Cardiff from 1966 to 1987. He was additionally Vice-Chancellor of the University of Wales for two terms: 1973 to 1975 and 1981 to 1983.

text:
# C. W. L. Bevan

**Cecil Wilfrid Luscombe** "**Bill**" **Bevan**, CBE (2 April 1920 – 19 April 1989) was a Welsh chemist, academic, and academic administrator. He was Principal of University College, Cardiff from 1966 to 1987. He was additionally Vice-Chancellor of the University of Wales for two terms: 1973 to 1975 and 1981 to 1983.

## Academic career

Bevan worked at the University of Exeter from 1949 to 1953, before moving to the University of Ibadan in Nigeria. He was head of its Department of Chemistry from 1953 and 1966, and its Vice Principal and Deputy Vice-Chancellor from 1960 to 1964.

## Honours

In the 1965 New Year Honours, Bevan was appointed a Commander of the Order of the British Empire (CBE). He was made an officer of the *Ordre des Palmes Académiques* by the government of France in 1986.

In 1969, Bevan was made a Fellow of University College London (UCL); this is an honorary appointment recognising "distinction in the arts, literature, science, business or public life". He was awarded an honorary Doctor of Science (DSc) degree in 1973 by the University of Ibadan. In 1982, he was made an Honorary Fellow of University College, Cardiff.

## Selected works

* Cecil Wilfred Luscombe Bevan (1965). *Intermediate Practical Chemistry*. Nelson.

## InfoBox

| Bill BevanCBE | |
| --- | --- |
| Bevan, c. 1980s | |
| Born | Cecil Wilfrid Luscombe Bevan<br>2 April 1920 |
| Died | 19 April 1989(1989-04-19) (aged 69) |
| **Scientific career** | |
| Fields | Chemistry |
| Institutions |  |
|  | |


title: Scheuring

abstract: Scheuring is a municipality in the district of Landsberg in Bavaria in Germany.

text:
# Scheuring

**Scheuring** is a municipality in the district of Landsberg in Bavaria in Germany.

## InfoBox

| Scheuring | |
| --- | --- |
| Municipality | |
|  | |
| Location of Scheuring within Landsberg am Lech district | |
| Scheuring Scheuring | |
| Coordinates: 48°10′N 10°54′E / 48.167°N 10.900°E / 48.167; 10.900 | |
| Country | Germany |
| State | Bavaria |
| Admin. region | Oberbayern |
| District | Landsberg am Lech |
| Municipal assoc. | Prittriching |
| Government | |
| Mayor (202026) | Konrad Maisterl |
| Area | |
| Total | 21.35 km2 (8.24 sq mi) |
| Elevation | 564 m (1,850 ft) |
| Population (2023-12-31) | |
| Total | 1,967 |
| Density | 92/km2 (240/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| Postal codes | 86937 |
| Dialling codes | 08195 |
| Vehicle registration | LL |
| Website | www.gemeinde-scheuring.de |


title: Taekwondo at the 2019 SEA Games

abstract: Taekwondo competitions at the 2019 SEA Games were held from 7 to 9 December 2019 at the Ninoy Aquino Stadium in Malate, Manila, Philippines.

text:
# Taekwondo at the 2019 SEA Games

**Taekwondo** competitions at the 2019 SEA Games were held from 7 to 9 December 2019 at the Ninoy Aquino Stadium in Malate, Manila, Philippines.

## Participating nations

A total of 24 athletes from 9 nations participated (the numbers of athletes are shown in parentheses).

## Medal table

*   Host nation (Philippines)

| Rank | Nation | Gold | Silver | Bronze | Total |
| --- | --- | --- | --- | --- | --- |
| 1 | Philippines (PHI)* | 8 | 9 | 4 | 21 |
| 2 | Thailand (THA) | 7 | 3 | 6 | 16 |
| 3 | Vietnam (VIE) | 5 | 2 | 7 | 14 |
| 4 | Malaysia (MAS) | 1 | 2 | 5 | 8 |
| 5 | Cambodia (CAM) | 1 | 2 | 1 | 4 |
| 6 | Indonesia (INA) | 0 | 2 | 8 | 10 |
| 7 | East Timor (TLS) | 0 | 1 | 3 | 4 |
| 8 | Singapore (SGP) | 0 | 1 | 0 | 1 |
| 9 | Myanmar (MYA) | 0 | 0 | 4 | 4 |
| 10 | Laos (LAO) | 0 | 0 | 2 | 2 |
| Totals (10 entries) | | 22 | 22 | 40 | 84 |

## Medalists

### Poomsae

| Event | Gold | Silver | Bronze |
| --- | --- | --- | --- |
| Men's freestyle | Jeordan Dominguez
Philippines | Nguyễn Ngọc Minh Hy
Vietnam | Wawan Saputra
Indonesia |
| | | | Phone Thet Naing
Myanmar |
| Women's freestyle | Nguyễn Thị Mộng Quỳnh
Vietnam | Janna Dominique Oliva
Philippines | Sakuna Laosoongnearn
Thailand |
|  | | | |
| Mixed freestyle team | Vietnam
Châu Tuyết Vân
Hứa Văn Huy
Nguyễn Ngọc Minh Hy
Nguyễn Thị Lệ Kim
Trần Hồ Duy | Philippines
Juvenile Faye Crisostomo
Marvin Mori
Patrick King Perez
Darius Venerable
Janna Dominique Oliva | Indonesia
Evelyna Melinda
Ibnu Muhammad
Abdul Rahman Darwin
Wawan Saputra
Ruhil |
| | | | Thailand
Kotchawan Chomchuen
Thanapat Bompenthomnumsuk
Thunsinee Mookda
Chawalit Khopana
Pichamon Limpaiboon |
|  | | | |
| Men's recognized | Rodolfo Reyes Jr.
Philippines | Pattarapong Sengmueang
Thailand | Sun Shine
Myanmar |
| | | | Augustine Rudy Grocer
Malaysia |
| Women's recognized | Jocel Lyn Ninobla
Philippines | Ornawee Srisahakit
Thailand | Lê Trần Kim Uyên
Vietnam |
| | | | Rachmania Gunawan Putri
Indonesia |
|  | | | |
| Men's recognized team | Philippines
Dustin Jacob Mella
Raphael Enrico Mella
Rodolfo Reyes Jr. | Vietnam
Lê Thanh Trung
Nguyễn Thiên Phụng
Trần Tiến Khoa | Malaysia
Augustine Rudy Grocer
Jason Loo
Yong Jin Kun |
| Women's recognized team | Thailand
Ornawee Srisahakit
Kotchawan Chomchuen
Phenkanya Phaisankiattikun | Philippines
Rinna Babanto
Aidaine Krishia Laxa
Jocel Lyn Ninobla | Vietnam
Lê Trần Kim Uyên
Ngô Thị Thùy Dung
Nguyễn Thị Kim Hà |
| | | | Indonesia
Defia Rosmaniar
Rachmania Gunawan Putri
Ruhil |
| Mixed recognized pair | Malaysia
Jason Loo
Nurul Hidayah Karim | Philippines
Dustin Jacob Mella
Rinna Babanto | Thailand
Pattarapong Sengmueang
Phenkanya Phaisankiattikun |
| | | | Indonesia
I Kadek Dwipayana
Defia Rosmaniar |

### Men's kyorugi

| Event | Gold | Silver | Bronze |
| --- | --- | --- | --- |
| Finweight
54 kg | Kurt Barbosa
Philippines | Reinaldy Atmanegara
Indonesia | Lobo Bonifacio Da Silva
East Timor |
| | | | Hoàng Đức Anh
Vietnam |
| Flyweight
58 kg | Ramnarong Sawekwiharee
Thailand | Ng Ming Wei
Singapore | Dex Ian Chavez
Philippines |
| | | | Muhammad Bassam Raihan
Indonesia |
| Bantamweight
63 kg | Nareupong Thepsen
Thailand | Ahmad Nor Rakib
Malaysia | Phạm Đăng Quang
Vietnam |
| | | | Kurt Pajuelas
Philippines |
| Featherweight
68 kg | Lakchai Hauihongthong
Thailand | Arven Alcantara
Philippines | Somsanouk Phommavanh
Laos |
| | | | Nguyễn Văn Duy
Vietnam |
| Lightweight
74 kg | Dave Cea
Philippines | Nutthawee Klompong
Thailand | Lý Hồng Phúc
Vietnam |
| | | | Syafiq Zuber
Malaysia |
| Welterweight
80 kg | Samuel Morrison
Philippines | Joshua Amirul Abdullah
Malaysia | Kyaw Min Naing
Myanmar |
| Heavyweight
+87 kg | Nattapat Tantramart
Thailand | Kristopher Uy
Philippines | Rizky Anugrah Prasetyo
Indonesia |
| | | | Luqman Hakim Suhaimi
Malaysia |

### Women's kyorugi

| Event | Gold | Silver | Bronze |
| --- | --- | --- | --- |
| Finweight
46 kg | Julanan Khantikulanon
Thailand | Ana Da Costa Da Silva
East Timor | Un Pich Chornai
Cambodia |
| | | | Veronica Graces
Philippines |
| Flyweight
49 kg | Panipak Wongpattanakit
Thailand | Rheza Aragon
Philippines | Julius Dhaysi Oo
Myanmar |
| | | | Rosa Luisa Dos Santos
East Timor |
| Bantamweight
53 kg | Trần Thị Ánh Tuyết
Vietnam | Mariska Halinda
Indonesia | Baby Jesicca Canabal
Philippines |
| | | | Phannapa Harnsujin
Thailand |
| Featherweight
57 kg | Pauline Louise Lopez
Philippines | Aliza Chhoeung
Cambodia | Imbrolia De Araujo Dos Reis Amorin
East Timor |
| | | | Vipawan Siripornpermsak
Thailand |
| Lightweight
62 kg | Phạm Thị Thu Hiền
Vietnam | Casandre Nicole Tubbs
Cambodia | Thanyanit Phuthanatwarin
Thailand |
| | | | Shaleha Fitriana Yusuf
Indonesia |
| Welterweight
67 kg | Bạc Thị Khiêm
Vietnam | Laila Delo
Philippines | Nur Aqilah Suhaimi
Malaysia |
| | | | Sonesavanh Sirimanotham
Laos |
| Heavyweight
+73 kg | Sorn Seavmey
Cambodia | Kirstie Alora
Philippines | Lâm Thị Hà Thanh
Vietnam |

## InfoBox

| Taekwondo
at the 2019 SEA Games | |
| --- | --- |
|  | |
| Venue | Ninoy Aquino Stadium, Rizal Memorial Sports Complex |
| Location | Malate, Manila |
| Date | 7–9 December |
| Nations | 9 |
|


title: Johnny Trouble

abstract: Johnny Trouble is a 1957 American drama film directed by John H. Auer and written by Charles O'Neil and David Lord. The film stars Ethel Barrymore in her final film, Cecil Kellaway, Stuart Whitman, Carolyn Jones, Jesse White and Rand Harper. The film was released by Warner Bros. on September 24, 1957.

text:
# Johnny Trouble

***Johnny Trouble*** is a 1957 American drama film directed by John H. Auer and written by Charles O'Neil and David Lord. The film stars Ethel Barrymore in her final film, Cecil Kellaway, Stuart Whitman, Carolyn Jones, Jesse White and Rand Harper. The film was released by Warner Bros. on September 24, 1957.

## Plot

For 27 years, the wealthy invalid Katherine Chandler has been waiting for her missing son John to return to her. A nearby college buys her apartment building and intends to evict her and construct a men's dormitory, but Katherine has a lease that stipulates she cannot be moved without her consent.

Workmen begin the construction all around her unit, but rather than drive her away, Katherine charms the young men and invites them for tea. Assisted by her longtime chauffeur Tom McKay, she is carried up and down the stairs in her chair by the workers and students.

One night, a young woman named Julie Horton breaks in through the fire escape. Julie is having trouble with her boyfriend Johnny, a former Marine who is now in school. Katherine wants to meet him. She begins to wonder if this could be the son of her long-lost Johnny and quickly begins to enjoy his company and trust him.

Johnny's grades and behavior are poor, resulting in him being expelled. Katherine goes to the university's administrators to say if they will give Johnny a second chance, she will vacate her premises. They agree.

Johnny does better in school. Despite passing all of his courses, Johnny decides to drop out of school to support Julie who is now pregnant until she has the baby and places it up for adoption. After speaking to Katherine, Johnny has a change of heart and marries Julie while also deciding against dropping out. The newly married couple decide to find an off campus apartment, where they will live with Katherine.

Katherine feels as if she has a family again. That night, she dies in her sleep. All the workmen and students come to her funeral, where Tom explains that her son Johnny was actually killed in a car crash 27 years ago, but Katherine's late husband made Tom promise never to tell her, giving her hope that he might still be out there somewhere.

## Cast

## InfoBox

| Johnny Trouble | |
| --- | --- |
| Theatrical release poster | |
| Directed by | John H. Auer |
| Screenplay by | Charles O'Neil
David Lord |
| Story by | Ben Ames Williams |
| Produced by | John H. Auer |
| Starring | Ethel Barrymore
Cecil Kellaway
Stuart Whitman
Carolyn Jones
Jesse White
Rand Harper |
| Cinematography | J. Peverell Marley |
| Edited by | Tony Martinelli |
| Music by | Frank De Vol |
| Production
company | Warner Bros. |
| Distributed by | Warner Bros. |
| Release date | * September 24, 1957 (1957-09-24) |
| Running time | 80 minutes |
| Country | United States |
| Language | English |


title: Rachel Anderson (football agent)

abstract: Rachel Paula Anderson MBE is a British football agent. She was the UK's first female FIFA-licensed agent.

text:
# Rachel Anderson (football agent)

**Rachel Paula Anderson** MBE (born September 1953) is a British football agent. She was the UK's first female FIFA-licensed agent.

## Career

Anderson's first occupational interest was journalism. As an agent, she has represented Don Hutchison, Julian Dicks, Michael Hughes, Joe Royle and more than 50 football players over her career. She has also represented companies such as Universal and Paramount, and worked on brands such as Superman and Bugs Bunny.

In 1993, Anderson negotiated the sale of Julian Dicks from the West Ham to Liverpool for £3 million.

In 1998, she was refused admission to the PFA's annual Awards evening, which at the time was men-only. She subsequently sued the PFA and was awarded £7,500 damages, plus costs.

## Personal life

Anderson was appointed Member of the Order of the British Empire (MBE) in the 2016 Birthday Honours for services to Gender Equality in Football.

## InfoBox

| Rachel Anderson<br>MBE | |
| --- | --- |
| Born | 1953 (age 7071) |
| Nationality | English |
| Occupation | Football agent |


title: Cardinal

abstract:
Cardinal or The Cardinal most commonly refers to
  - Cardinalidae, a family of North and South American birds
    - Cardinalis, genus of three species in the family Cardinalidae
      - Northern cardinal, Cardinalis cardinalis, the common cardinal of eastern North America
      - Pyrrhuloxia or desert cardinal, Cardinalis sinuatus, found in southwest North America
      - Vermilion cardinal, Cardinalis phoeniceus, found in Colombia and Venezuela
  - Cardinal, a senior official of the Catholic Church
    - Member of the College of Cardinals
  - Cardinal Health, a health care services company
  - Cardinal number
    - Large cardinal
  - Cardinal direction, one of the four primary directions: north, south, east, and west
  - Cardinal, a 2017 Canadian television series
  - Arizona Cardinals, an American professional football team
  - St. Louis Cardinals, an American professional baseball team Cardinal or The Cardinal may also refer to:

text:
# Cardinal

**Cardinal** or **The Cardinal** most commonly refers to

**Cardinal** or **The Cardinal** may also refer to:

## Animals

### Birds

* *Paroaria*, a South American genus of birds in the family Thraupidae commonly called red-headed cardinals or cardinal-tanagers
* Yellow cardinal, *Gubernatrix cristata* a South American bird in the family Thraupidae

### Other animals

## Businesses

## Christianity

## Entertainment

### Films

### Games

### Music

#### Groups

#### Albums

### Television

### Other arts, entertainment, and media

## Linguistics

## Mathematics

## Places

## Plants

## Sports

## Transport

### Aircraft

### Trains

## Other uses


title: Desert Vixen

abstract: Desert Vixen (1970–1982) was an American Thoroughbred racehorse. She was the leading American filly of her generation, winning an Eclipse Award at the ages of both three and four. She was later inducted into the U. S. Racing Hall of Fame.

text:
# Desert Vixen

**Desert Vixen** (1970–1982) was an American Thoroughbred racehorse. She was the leading American filly of her generation, winning an Eclipse Award at the ages of both three and four. She was later inducted into the U. S. Racing Hall of Fame.

## Racing career

Desert Vixen began racing at age two and met with limited success, winning only one of her five starts. At age three, Desert Vixen was the dominant filly in her class, winning eight straight races including a number of important Grade I stakes and tying the Belmont Park track record held by Canonero II in the Beldame Stakes. She broke the stakes record in the 1973 Gazelle Handicap which had been set by Susan's Girl the previous year. Her performance earned her the 1973 Eclipse Award for Outstanding 3-Year-Old Filly.

At age four, Desert Vixen started slowly but then earned three important wins in her eleven races. One of her three second-place finishes came when she raced on turf for the first time in her career in the prestigious Washington, D.C. International. In that Grade I race, she finished behind winner Admetus but ahead of the superstar filly Dahlia, who had won the race in 1973. Desert Vixen won her second Beldame Stakes by 11½ lengths and tied the Atlantic City Race Course track record in winning the Matchmaker Handicap. Her 1974 performances earned her a second Eclipse Award as U.S. Champion Older Female Horse.

## Stud record

As a broodmare, Desert Vixen produced Real Shadai, the leading sire in Japan in 1993.

In 1979, Desert Vixen was inducted into the United States' National Museum of Racing and Hall of Fame. She died in 1982 and is buried at Breckinridge Farm in Lexington, Kentucky.

## InfoBox

| Desert Vixen | |
| --- | --- |
| Sire | In Reality |
| Grandsire | Intentionally |
| Dam | Desert Trial |
| Damsire | Moslem Chief |
| Sex | Filly |
| Foaled | 1970 |
| Country | United States |
| Colour | Dark Bay |
| Breeder | Muriel Vanderbilt |
| Owner | Harry T. Mangurian Jr. |
| Trainer | Thomas F. Root Sr. |
| Record | 28: 13-6-3 |
| Earnings | $421,538 |
| Major wins | |
| Alabama Stakes (1973)
Delaware Oaks (1973)
Monmouth Oaks (1973)
Test Stakes (1973)
Gazelle Handicap (1973)
Beldame Stakes (1973 & 1974)
Matchmaker Handicap (1974) | |
| Awards | |
| U.S. Champion 3-Yr-Old Filly (1973)
U.S. Champion Older Female Horse (1974) | |
| Honours | |
| United States Racing Hall of Fame (1979)
Desert Vixen Stakes at Gulfstream Park | |
| Last updated on August 12, 2017 | |


title: John Hagenbeck

abstract: John Heinrich August Hagenbeck was a German animal dealer, a plantation owner in Ceylon and a writer of books. He was the originator of what is now Dehiwala Zoo in Colombo. John was the eldest son from the second marriage of Carl Claes Gottfried Hagenbeck and thus a half-brother of Carl Hagenbeck, well known for his zoos. John worked for Carl Hagenbeck from 1881, transporting animals and travelling on his behalf. In 1886 he visited Ceylon and recruited people for Hagenbeck's Völkerschau or "human zoo". In 1891 he moved to Colombo and worked as a planter. He soon acquired rubber, cocoa and tea plantations. He also traded in animals. In 1914, at the start of the war, he moved to Indonesia to avoid internment and then fled to Germany. He started a film company in Berlin in 1918 which produced films on his travels. He also wrote several books. The Hagenbecks had an animal catching station near Kilimanjaro and John accompanied Baron Axel Blixen for a hunt in the area. John was also a friend of Leonard Woolf who was briefly stationed in Hambantota. In 1927 he returned to Colombo and started a zoo in Dehiwala in 1929. The zoo was sold to the British government in 1935 and all his properties were seized in 1939 by the British. He died in Colombo in 1940.

text:
# John Hagenbeck

**John Heinrich August Hagenbeck** (15 October 1866, Hamburg —16 December 1940, Colombo) was a German animal dealer, a plantation owner in Ceylon and a writer of books. He was the originator of what is now Dehiwala Zoo in Colombo.

John was the eldest son from the second marriage of Carl Claes Gottfried Hagenbeck and thus a half-brother of Carl Hagenbeck, well known for his zoos. John worked for Carl Hagenbeck from 1881, transporting animals and travelling on his behalf. In 1886 he visited Ceylon and recruited people for Hagenbeck's Völkerschau or "human zoo". In 1891 he moved to Colombo and worked as a planter. He soon acquired rubber, cocoa and tea plantations. He also traded in animals. In 1914, at the start of the war, he moved to Indonesia to avoid internment and then fled to Germany. He started a film company in Berlin in 1918 which produced films on his travels. He also wrote several books.

The Hagenbecks had an animal catching station near Kilimanjaro and John accompanied Baron Axel Blixen for a hunt in the area. John was also a friend of Leonard Woolf who was briefly stationed in Hambantota.

In 1927 he returned to Colombo and started a zoo in Dehiwala in 1929. The zoo was sold to the British government in 1935 and all his properties were seized in 1939 by the British. He died in Colombo in 1940.


abstract: Cartoon Network, LP v. CSC Holdings, Inc., 536 F.3d 121, was a United States Court of Appeals for the Second Circuit decision regarding copyright infringement in the context of DVR systems operated by cable television service providers. It is notable for distinguishing the Ninth Circuit precedent MAI Systems Corp. v. Peak Computer, Inc., regarding whether a momentary data stream is a "copy" per copyright law. In this case, Cablevision, a cable television provider, sought to implement a DVR service for its subscribers, allowing them to create copies of programs to be replayed at a later time. A consortium of copyright holders in the television and film industries sued for direct copyright infringement on the grounds of unlawful copying and public performance. The Second Circuit ruled that the DVR service did not constitute infringement.

text:
# Cartoon Network, LP v. CSC Holdings, Inc.

***Cartoon Network, LP v. CSC Holdings, Inc.***, 536 F.3d 121 (2nd Cir., 2008), was a United States Court of Appeals for the Second Circuit decision regarding copyright infringement in the context of DVR (digital video recorder) systems operated by cable television service providers. It is notable for distinguishing the Ninth Circuit precedent *MAI Systems Corp. v. Peak Computer, Inc.*, regarding whether a momentary data stream is a "copy" per copyright law.

In this case, Cablevision, a cable television provider, sought to implement a DVR service for its subscribers, allowing them to create copies of programs to be replayed at a later time. A consortium of copyright holders in the television and film industries sued for direct copyright infringement on the grounds of unlawful copying and public performance. The Second Circuit ruled that the DVR service did not constitute infringement.

## Background

Cablevision, a cable television provider, announced the development of a "Remote Storage DVR" (RS-DVR) service in 2006. Similar in operation to a traditional digital video recorder (DVR), Cablevision's DVR allowed customers to pause, record, replay, and rewind previously recorded content. Unlike traditional DVRs, which require a device containing a hard drive to be placed in the home of the subscriber, the Cablevision DVR stored content on servers at company facilities.

To implement the DVR service, Cablevision streamed their existing digital television programming through a second server, which identified requested content, then copied this content and held the copy for a brief period before transmitting it to the subscriber for their later retrieval. At various points in the system, content was buffered for brief durations (0.1 and 1.2 seconds respectively). Content requested by a particular subscriber was stored separately and independently for that person and a replay option was only offered to them.

Upon announcing the new service, Cablevision was sued for direct copyright infringement by a consortium of television and movie copyright holders including Turner Broadcasting and its subsidiaries Cartoon Network and CNN; Twentieth Century Fox; NBCUniversal subsidiaries NBC and Universal Studios; Paramount Pictures; Disney and its subsidiary ABC; and CBS. The consortium sued only for declaratory relief and injunctive relief on the grounds of direct copyright infringement, excluding from consideration the topic of contributory copyright infringement. In its response, Cablevision waived any potential defense based on fair use.

## District court ruling

The case was first heard at the District Court for the Southern District of New York in 2007, with Twentieth Century Fox as the lead plaintiff. The plaintiff entertainment companies claimed that the Cablevision DVR service enabled copyright infringement. According to the plaintiffs, the buffering of streaming data, necessary for the DVR service's operation, constituted the creation of unauthorized copies to be stored on the company's servers; meanwhile, transmitting those copies to subscribers constituted unauthorized public performance under American copyright law.

Cablevision replied that the copies constituted *de minimis* use of the original programs because they only existed very briefly during the buffering process. Furthermore, since the creation of copies for later viewing was initiated by subscribers, Cablevision could at most be liable for contributory copyright infringement, which was not at issue in the complaint; and since each copy could only be viewed by the subscriber who requested it, the transmission of the content did not fall under the definition of "public performance" in copyright law.

The district court ruled that buffered copies of programs could themselves be copied again by unauthorized users, and since they included entire original programs, they could not be considered *de minimis* copies. This finding was supported by the 1993 precedent *MAI Systems v. Peak Computer*, which addressed much earlier practices in which computer repair technicians made temporary copies of files when fixing a particular computer. The district court also found that Cablevision enabled the creation of each copy because it was stored on the company's equipment; while different copies of the same program, if requested by multiple subscribers, constituted public performance because as digital copies they were identical.

Thus, the district court ruled in favor of the entertainment companies, accepting their argument that the temporary buffering copies of programs were unauthorized copies under copyright law. The court issued an injunction that prohibited Cablevision from operating its proposed DVR service.

## Circuit court ruling

Cablevision appealed the ruling to the Second Circuit Court of Appeals in 2008. This time, Cartoon Network was the lead respondent. The circuit court ultimately reversed the lower court's decision and ruled in favor of Cablevision.

On the matter of temporary buffer copies of programs, the circuit court noted that the Copyright Act of 1976 requires an alleged unauthorized copy to be "fixed", meaning that it must be both "embodied in a copy or phonorecord" and perceivable "for a period of more than a transitory duration" (which the court denoted as the "embodiment" and "duration" requirements). The circuit court found that the district court had relied too heavily on the embodiment requirement and did not properly consider the duration requirement. Hence, the circuit court rejected the lower court's reliance on *MAI Systems Corp. v. Peak Computer, Inc.*, which did not address copies of files that only exist for a very brief duration of time. This in turn disregarded the "transitory duration" requirement of the Copyright Act, and a buffer copy should be considered transitory.

Cablevision's copies were known to exist for as long as 1.2 seconds, but the circuit court did not establish this duration of time as a boundary between "transitory" and "non-transitory". That boundary remains undefined in American copyright law.

Since the parties to the case had already agreed not to argue the matter of contributory copyright infringement, the circuit court next considered whether the buffer copies of programs for the DVR service constituted direct infringement. This required determining who created the copies. While the district court had ruled that Cablevision created the copies, albeit at the request of a specific subscriber, the circuit court disagreed with this analysis. Per the precedent *Religious Technology Center v. Netcom On-Line Communications Services*, which established the requirement for "some element of volition or causation" in the creation of a copy, the circuit court found that while Cablevision had some involvement in the process via managing the technology that enabled the copying, its involvement was not "sufficiently proximate" to constitute direct copyright infringement.

The circuit court also disagreed with the district court's finding that the copied programs were transmitted to the public, and instead noted that each copy would only be sent to a particular subscriber who requested it. Thus, the practice did not constitute "public performance" that must be authorized under copyright law. Instead the practice of a single subscriber viewing a program at a later time was found to be time shifting, which is allowable per the Supreme Court precedent *Sony Corp. of America v. Universal City Studios, Inc.*

## Impact

This ruling is considered to be an important precedent for the applicability of American copyright law toward modern practices of on-demand viewing of entertainment programs, and modern technologies that enable such consumer behavior by temporarily copying copyrighted digital files but not keeping or redistributing them. However, the ruling has also been criticized for encouraging abuse of copyright law in its failure to draw clear boundaries when measuring the duration of "transitory" or "temporary" copies of copyrighted digital files.

## InfoBox

| Cartoon Network, LP v. CSC Holdings, Inc. | |
| --- | --- |
|  | |
| Court | United States Court of Appeals for the Second Circuit |
| Full case name | *Cartoon Network, LP, LLLP v. CSC Holdings, Inc.* |
| Argued | October 24, 2007 |
| Decided | August 4, 2008 |
| Holding | |
| Digital video recorder (DVR) services operated by cable television copies do not create copies of copyrighted content that must be authorized under copyright law. | |
| Court membership | |
| Judges sitting | John M. Walker, Jr., Robert D. Sack, and Debra Livingston |
| Case opinions | |
| Decision by | John M. Walker, Jr. |
| Keywords | |
| copyright infringement, embodiment, transitory duration | |