Life and career.

1987–2000: Early life and career beginnings.

Duff was born on September 28, 1987 in Houston, Texas. Her parents are Robert Erhard Duff, a partner in a chain of convenience stores, and Susan Colleen (née Cobb), a homemaker turned film and music producer. Duff has one older sister named Haylie. She was raised between Houston and San Antonio, the locations of her father's convenience stores. Encouraged by their mother, both Hilary and her sister enrolled in acting, singing and ballet classes. The siblings earned roles in local theater productions, and later participated in a touring BalletMet production of "The Nutcracker" in San Antonio. Increasingly interested in the pursuit of show business, the Duff sisters and their mother moved to California in 1993, while their father stayed in Houston to take care of his business. The sisters auditioned for several years and were cast in many television commercials. Due to her acting career, Duff was home-schooled from the age of eight. The pair

2000–2006: Mainstream success in acting and music.

A week after being dropped from "Daddio", Duff landed the title role of a newly developed Disney Channel series, "Lizzie McGuire". "Lizzie McGuire" premiered on January 12, 2001, and became a ratings hit, with an estimated 2.3 million viewers per episode. Duff quickly became labeled as a teen idol and household name, particularly within the show's pre-teen adolescent target demographic. Disney began marketing the series through soundtracks, books, dolls, toys, and video games based on Duff's character; the company reportedly made an estimated $100 million from the show's merchandise alone. The actress was featured in the video game that was created for her Lizzie McGuire character and was released on the Gameboy system. Duff made her feature film debut in "Human Nature" (2002), in which she portrayed the younger version of Patricia Arquette's character. Duff also starred in the 2002 Disney Channel television film "Cadet Kelly", which became the network's most watched program in its 19-year history.  Duff began making appearances on various soundtracks for the Disney channel, recording a cover of the Brooke McClymont song "I Can't Wait" for the soundtrack to "Lizzie McGuire". She later recorded a cover of "The Tiki Tiki Tiki Room" for "DisneyMania". Upon expressing interest in a music career, production on Duff's debut Christmas themed album began. "Santa Claus Lane" was

2007–2010: "Dignity" and independent films.

In 2007, Duff began working on material for her fourth studio album. Duff co-wrote thirteen of the album's fourteen songs, along with writers such as Kara DioGuardi. The finished product, "Dignity" (2007), featured production from Rhett Lawrence, Tim & Bob, and Richard Vission, resulting in a dance and electropop sound for the record. The album received critical praise, despite some critics noting Duff's "weak" vocals. The album was praised for its lyrical content and new musical direction. The album dealt with topics such as her parents' divorce, her breakup with Joel Madden, and the stalking incident during the prior year. Despite a positive critical reception, "Dignity" failed to match the commercial success of her previous releases. Debuting at number three on the "Billboard"

2010–2014: Other endeavors.

Duff continued to appear in film roles, starring in the ABC Family television film "Beauty & the Briefcase" (2010), where she also served as an executive producer. The film saw Duff as a fashion magazine columnist who wrote about her dating struggles in the city. The premiere received 2.4 million viewers attracting a strong female audience that drove the network to an all-time high in viewers. Following this appearance, she made another in an episode of the NBC sitcom "Community". She then co-starred as Raven Halfacre, the teenage daughter of a promiscuous alcoholic, in the drama "Bloodworth", in which, despite not warming to the film, "Los Angeles Times" reviewer Sheri Linden thought she "acquits herself well." "The Examiner" also wrote that the "biggest surprise performance [in the film] probably belongs to Hilary Duff." In 2010, Duff set up a book-writing deal with Simon & Schuster. Published in October 2010, the first young adult novel to result from her and Elise Allen's collaboration was entitled "Elixir". It was subsequently released internationally and became a "New York Times" best-seller.  The following year, Duff co-starred in the Polish brothers' comedy "Stay Cool" (2011) to neither much critical nor commercial acclaim

2014–2017: "Younger" and "Breathe In. Breathe Out.".

On January 15, 2014, Duff signed on to co-star opposite Sutton Foster in the comedy-drama pilot "Younger". The series is based on a Pamela Redmond Satran novel, and created and executive-produced by Darren Star for TV Land. Duff was cast as Kelsey Peters, an "ambitious 20-something" who persuades Foster's character to work in a publishing firm. In April 2014, it was announced that the pilot was picked up for a series with a 12-episode deal and would premiere in the fall; the premiere date was later changed to 2015. The

2018–present: Entrepreneurship and "Lizzie McGuire" sequel series.

Duff returned to her fashion designing career in January 2018, for the first time in nine years since "Femme for DKNY". She launched a collaborative eyewear line with GlassesUSA called the "Muse x Hilary Duff" collection. In the same month, she announced that she was filming an independent movie, later revealed to be titled "The Haunting of Sharon Tate", relating to the Tate murders. The film was written and directed by Daniel Farrands while Duff served as an executive producer on the film. She starred alongside Lydia Hearst and former "Cheaper by the Dozen 2" co-star, Jonathan Bennett. The film was released in April 2019 and at the 2019 Hollywood Reel Independent Film Festival, Duff won the Best Actress award for her portrayal of the title character. While independent horror films reviews were more

Musical style.

With her debut, Duff's music featured prominent pop and pop rock elements. Duff cited listening to rock music as a child for the main influence behind the theme. She worked heavily with The Matrix for her second studio album, leading critics to compare the effort to releases from artists such as Avril Lavigne, Ashlee Simpson and Lindsay Lohan. These themes were featured more prominently on her third studio album, "Hilary Duff". The album makes further use of strong drum and guitar beats. Duff co-wrote multiple songs for the album, with the lyrics speaking on topics such as criticism, following your dreams, and love. The new material featured on her

Public image.

Following the launch of "Lizzie McGuire", Duff received a significant amount of fame and media attention. The series proved to be a major hit for the network, and led to a string of merchandising that included Lizzie McGuire dolls, video games, plush figures, and even McDonald's Happy Meal Toys. The success of "The Lizzie McGuire Movie" "indicated that Duff's television fanbase could be migrated to film." Following her success from her "Lizzie McGuire" days, Richard Huff of the "New York Daily News" called Duff "a 2002 version of Annette Funicello" but admitted that the character of Lizzie McGuire was both a blessing and burden for her. In 2003, Huff stated that Duff's public image is "tied" to "Lizzie McGuire". In 2005, Katie Long from the Centre of Parent/Youth Understanding wrote an analysis of Duff and her suitability as an idol for young teens. Duff, she wrote, "is not like Britney Spears or Christina Aguilera... yet," celebrities who seem to use their sex appeal to sell albums, but remains "someone that adolescent girls can relate to."  Duff was credited with the revival of Hollywood Records following the release of "Metamorphosis" (2003). The "San Fernando Valley Business Journal" wrote that the album was "giving Hollywood Records a needed shot in the arm" after a decline in CD sales during the previous two years had forced the label to reduce costs and alter its operation. Hilliard Lyons analyst Jeffrey Thomison cited "Metamorphosis" as a reflection of Disney's ability to develop "great synergy between their cable, film and music segments" Duff's transition from Disney star to successful singer became a formula that Hollywood Records tried to implement with future acts such as Miley Cyrus, Selena Gomez, Demi Lovato, and Bridgit Mendler among others. Artists such as Miley Cyrus, Selena Gomez, Demi Lovato, Ariana Grande and Keke Palmer have all cited Duff as influences on their careers.  Her song "Come Clean" (2003) was used as the theme song to the MTV reality series "Laguna Beach", which is in turn credited with helping promote the song in the United States. Her song "Sweet Sixteen" (2003) was used as the theme for the MTV reality series of the same name. Multiple dates on her Most Wanted Tour to promote "Hilary Duff" (2004) sold out in minutes. Her success with music led to her selling over fifteen million albums by 2014.  Her transition from teenage star to

Personal life.

In 2001, it was confirmed that Duff was in a relationship with fellow teen star Aaron Carter. Carter later guest-starred in an episode of "Lizzie McGuire" with Duff. The relationship garnered media attention with reports of a love triangle between Duff, Carter, and actress Lindsay Lohan. Duff and Carter continued an on-again-off-again relationship for three years, before ultimately ending their relationship.  In July 2004, a 16-year-old Duff began dating Good Charlotte singer Joel Madden, who was then 25 years old. After a long period of tabloid speculation, Duff's mother Susan announced their relationship in a June 2005 interview for "Seventeen" magazine. Madden worked with Duff on her compilation album, "Most Wanted". In November 2006, Duff and Madden broke up.  Duff began dating Canadian NHL player Mike Comrie in 2007.

Philanthropy.

Duff has involved herself with various philanthropic activities. For natural disasters, she donated $250,000 to help the victims of Hurricane Katrina in addition to donating over 2.5 million meals to Hurricane Katrina victims in the southern US in 2005. In August 2006, Duff traveled to a New Orleans elementary school and worked with USA Harvest to distribute meals.  She has helped various youth charities and is a member of Kids with a Cause. Duff has also served on the Advisory Board of the Audrey Hepburn Child Benefit Fund and the Celebrity Council of Kids with a Cause. In October 2008, Duff starred in a public service announcement for The Think Before You Speak Campaign by Ad Council and GLSEN to prevent youth from using anti-LGBT vocabulary, such as the phrase "That's So Gay." In July 2009, Duff was named as a youth ambassador to the children of the Colombian capital, Bogotá. As a Youth Ambassador, she spent five days in the country, distributing backpacks filled with food to needy children.  Duff is a strong animal rights supporter and commented when asked what she would do if she was not a celebrity, "I always wanted to be a veterinarian when I was younger, but then I figured out that animals actually die there, so that was not the job for me. Definitely something with kids or animals or something like that."  In 2012, a few months after giving birth to her son, Duff was actively involved in the Johnson's Baby Cares campaign. The campaign included activities such as sending care kits and care cards to new mothers across the U.S. as a motivation. It also raises funds for children and poor families together with Save The Children.  Towards the start of the Christmas shopping season in November 2013, Duff teamed up with Duracell in Canada for a campaign especially for kids in hospitals. The campaign called Powering Holiday Smiles donated 20,000 batteries to hospitals across Canada in order to power lifesaving medical devices and the thousands of playroom toys and games that children and their families would be using during the holiday season of 2013 and beyond. The campaign encourages Canadians to buy Duracell Quantum AA-16 batteries, in which for every packet sold, one dollar will be donated to the Children's Miracle Network. The campaign began on November 22 and ended on December 27, 2013. In order to promote the campaign, Duff paid a visit to The Hospital for Sick Children in Toronto, Ontario, to hand out brand new toys supplied by Hasbro. She has discussed the campaign on Breakfast Television Toronto, a radio show, and in numerous magazine interviews.  She has also participated in various online charity campaigns, including a partnership with Claritin, and raising relief efforts for the 2018 Hanalei floods via sales of her "Muse x Hilary Duff Collection". She was also one of the celebrities who participated in the 2017 telethon for the Houston floods and contributed an essay about the devastating effect the hurricane left on her hometown, on Marie Claire's official website.  In 2020, aside from sharing a donation of a sum of money with her husband Matthew Koma for the Australian bushfires relief efforts, Duff also donated baby products to parents in need during the COVID-19 pandemic via her "Happy Little Camper" brand.

Hilary Erhard Duff (born September 28, 1987) is an American actress, businesswoman, singer, songwriter, producer, and writer. Duff began her acting career at a young age and quickly became labeled a teen idol as the title character of the hit television series "Lizzie McGuire" (2001–2004) and in the theatrical film based on the series, "The Lizzie McGuire Movie" (2003). Thereafter, Duff appeared in numerous films, with leading roles in "Agent Cody Banks" (2003), "Cheaper by the Dozen" (2003), "A Cinderella Story" (2004), and "Cheaper by the Dozen 2" (2005). After experiencing commercial and critical failure in "Material Girls" (2006), Duff began appearing in independent films such as "War, Inc." (2008), "According to Greta" (2009), and "The Haunting of Sharon Tate" (2019) besides executive producing the latter two. Since 2015, she has starred as Kelsey Peters on the TV Land comedy-drama series "Younger", for which she has received nominations for People's Choice Awards in 2016 and 2017.

Hilary Duff, née le à Houston au Texas, est une actrice, auteur-compositrice-interprète pop rock, écrivaine, styliste, mannequin, productrice et actrice de doublage américaine. Élevée au Texas, elle a lancé sa carrière de comédienne en jouant dans des pièces de théâtre, durant son enfance. Après avoir eu le rôle principal dans la série télévisée "Lizzie McGuire", en 2001, elle est devenue l'idole des jeunes. Plus tard, elle a joué dans plusieurs films à succès comme : "Lizzie McGuire, le film" (2003), "Treize à la douzaine" (2003), "Comme Cendrillon" (2004), ou encore "Treize à la douzaine 2" (2005). Au fur et à mesure, dans sa carrière, elle a joué des rôles plus adultes comme dans "Le Monde de Joan", "Ghost Whisperer", "New York, unité spéciale" ou encore "Mon oncle Charlie". En 2009, elle a aussi joué dans plusieurs épisodes de la célèbre série télévisée dramatique, "Gossip Girl". Entre autres, elle est apparue dans plusieurs films indépendants comme : "War, Inc." (2008), "Greta" (2009) ou encore "Bloodworth" (2010).


Biography.

Krim was born in the village of Aït Yahia Moussa (now in Tizi Ouzou Province) in the Berber-speaking Kabylie region of Algeria. During the Second World War, he joined the French Army, and was promoted corporal in the First Algerian Sharpshooter Regiment, reputedly becoming an excellent shot. Demobilized on October 4, 1945, he returned to his home village, where he took up a bureaucratic post. Krim joined the underground Algerian People's Party at the beginning of 1946, setting up clandestine cells in 12 villages around Draa el-Mizan. Accused of the murder of a forest warden in 1947, he was hunted and he joined the maquis under the Pseudonym of Si Rabah with Moh Nachid, Mohand Talah and Messaoud Ben Arab. Twice sentenced to death by French tribunals in 1947 and 1950, he became the Kabylie responsible of the PPA-MTLD paramilitary organization founded in February 1947 by Messali Hadj, the Organisation Spéciale, at the head of 22 members of the resistance ("maquisards").  During the Algerian War of Independence, Krim was chief of the FLN's 3rd Wilaya, Kabylie and its surrounding area. After his important role at the Soummam Congress—in which the FLN formalized its revolutionary program—Krim became one of the most important and powerful of all the FLN chiefs. Belkacem, who left Algeria after the Battle of Algiers, formed an alliance with Lakhdar Ben Tobbal and Abdelhafid Boussouf against Abane Ramdane. He was the first to be Minister of Defense, then Foreign Minister, in the provisional Government of the Algerian republic (GPRA) in 1958, and Vice President of Algeria. Later he was the principal Algerian negotiator of the agreements of Évian in March 1962. Belkacem was in opposition to the creation of the Political Bureau of the FLN in July 1962 by Ahmed Ben Bella, Colonel Houari Boumedienne, and Mohamed Khider.

Political views and Assassination.

After the June 19, 1965 takeover by the Political Bureau, he returned to opposition, favouring more federalist views than Boumedienne's centralist policies. Accused of having organized an assassination attempt against Boumedienne, he was sentenced to death "in absentia". He was found assassinated in 1970 in a hotel room in Frankfurt, West Germany. Belkacem was posthumously rehabilitated by the Algerian state by being buried in the Martyrs Square at the El Alia Cemetery on October 24, 1984. Krim Belkacem Airport in Hassi Messaoud was named after him.

Krim Belkacem (in [Arabic language]: كريم بلقاسم) (September 14, 1922, Aït Yahia Moussa, Tizi Ouzou Province – October 18, 1970) was an Algerian revolutionary fighter and politician.

Krim Belkacem, né le à Aït Yahia Moussa, dans la région de Kabylie, en Algérie, et mort assassiné le à Francfort, en Allemagne, par la Sécurité Militaire algérienne, est un homme politique algérien, chef historique du Front de libération nationale durant la guerre d'indépendance algérienne. C'est Krim Belkacem qui signera l'acte d'indépendance de l'Algérie en bas des accords d'Évian en tant que plus gradé des anciens maquisards et seul membre des six qui ont déclenché le premier novembre encore en vie et non prisonnier, mais surtout en tant que vice-président du GPRA.


History.

Origins.

After the Lord Stanley of Preston was appointed by Queen Victoria as Governor General of Canada on June 11, 1888, he and his family became highly enthusiastic about ice hockey. Stanley was first exposed to the game at Montreal's 1889 Winter Carnival, where he saw the Montreal Victorias play the Montreal Hockey Club. The "Montreal Gazette" reported that he "expressed his great delight with the game of hockey and the expertise of the players". During that time, organized ice hockey in Canada was still in its infancy and only Montreal and Ottawa had anything resembling leagues.  Stanley's entire family became active in ice hockey. Two of his sons, Arthur and Algernon, formed a

Challenge Cup era.

During the challenge cup period, none of the leagues that played for the trophy had a formal playoff system to decide their respective champions; whichever team finished in first place after the regular season won the league title. However, in 1894, four teams out of the five-team AHAC tied for the championship with records of 5–3–0. The AHAC had no tie-breaking system. After extensive negotiations and Quebec's withdrawal from the championship competition, it was decided that a three-team tournament would take place in Montreal, with the Ottawa team receiving a bye to the final because they were the only road

Organized interleague competition.

In 1914, the Victoria Aristocrats from the Pacific Coast Hockey Association (PCHA) challenged the NHA and Cup champion Toronto Blueshirts. A controversy erupted when a letter arrived from the Stanley Cup trustees on March 17, that the trustees would not let the Stanley Cup travel west, as they did not consider Victoria a proper challenger because they had not formally notified the trustees. However, on March 18, Trustee William Foran stated that it was a misunderstanding. PCHA president Frank Patrick had not filed a challenge, because he had expected Emmett Quinn of the NHA to make all

NHL takes over.

The WHL folded in 1926 and was quickly replaced by the Prairie Hockey League. However, in the meantime, the NHL (which had entered the U.S. only two years before) bought up the contracts of most of the WHL's players and largely used them to stock the rosters of three new U.S. teams. In what would turn out to be its most significant expansion of its pre-Original Six era, the Chicago Blackhawks, Detroit Red Wings and New York Rangers joined the NHL. With the NHL now firmly established in the largest markets of the Northeastern United States, and with the Western teams having been stripped of their best players, the PHL was deemed to be a "minor league" unworthy of challenging the NHL for hockey supremacy.  The PHL lasted only two seasons. Over the next two decades, other leagues and clubs occasionally

125th anniversary.

In March 2017, to commemorate the Stanley Cup's 125th anniversary, the original Cup and the current Stanley Cup were the focus of a four-day tour of Ottawa, including a stop at Rideau Hall. The Royal Canadian Mint announced the production of two commemorative coins to mark the anniversary. The first is a roll of Canadian quarters with an image of the Stanley Cup, the word Stanley Cup in English and Coupe Stanley in French with

Engraving.

Like the Grey Cup, awarded to the winner of the Canadian Football League, the Stanley Cup is engraved with the names of the winning players, coaches, management, and club staff. However, this was not always the case: one of Lord Stanley's original conditions was that each team could, at their own expense, add a ring to the Cup to commemorate their victory. Initially, there was only one base ring, which was attached to the bottom of the original bowl by the Montreal Hockey Club. Clubs engraved their team names, usually in the form, on that one ring until it was full in 1902. With no more room to engrave their names (and unwilling to pay for a second band), teams left their mark on the bowl itself. The 1907 Montreal Wanderers became the first club to record their name on the bowl's interior surface, and the first champion to record the names of 20 members of their team.  In 1908, for reasons unknown, the Wanderers, despite having turned aside four challengers, did not record their names on the Cup. The next year, the Ottawa Senators added a second band onto the Cup. Despite the new room, the 1910 Wanderers and the 1911 Senators did not put their names on the Cup. The 1915 Vancouver Millionaires became the second team to engrave players' names, this time inside the bowl along its sides.  The 1918 Millionaires eventually filled the band added by the 1909 Senators. The 1915 Ottawa Senators, the 1916 Portland Rosebuds and the 1918 Vancouver Millionaires all engraved their names on the trophy even though they did not officially win it under the new PCHA-NHA system. They had won the title of only the previous champion's league and would have been crowned as Cup champions under the old challenge rules. The winners in 1918 and 1920 to 1923 did not put their winning team name on it.  No further engraving occurred until 1924, when the Canadiens added a new band to the Cup. Since then, engraving the team and its players has been an unbroken annual tradition. Originally, a new band was added each year, causing the trophy to grow in size. The "Stovepipe Cup", as it was nicknamed because of its resemblance to the exhaust pipe of a stove, became unwieldy, so it was redesigned in 1948 as a two-piece cigar-shaped trophy with a removable bowl and collar. This Cup also properly honoured those teams that did not engrave their names on the Cup. Also included was the 1918–19 no decision between the Montreal Canadiens and Seattle Metropolitans.  Since 1958, the Cup has undergone several minor alterations. The original collar and bowl were too brittle, and were replaced in 1963 and 1969, respectively. The modern one-piece Cup design was introduced in 1958, when the old barrel was replaced with a five-band barrel, each of which could contain 13 winning teams. Although the bands were originally designed to fill up during the Cup's centennial year in 1992, the names of the 1965 Montreal Canadiens were engraved over a larger area than allotted and thus there are 12 teams on that band instead of 13. When the bands were all filled in 1991, the top band of the large barrel was preserved in the Hockey Hall of Fame, and a new blank band was added to the bottom so the Stanley Cup would not grow further.  Another new band was scheduled to be added to the bottom of the cup following the 2004–05 season, but was not added because of the 2004–05 NHL lockout. After the 2005–06 champion Carolina Hurricanes were crowned, and the new bottom ring was finally added (along with the retiring of the band listing the 1940–41 to 1952–53 champions). The cancelled season was acknowledged with the words "2004–05 Season Not Played".  Following the crowning of the 2017–18 champions, the Washington Capitals, the band listing the 1953–54 to 1964–65 winners was removed in September 2018, with a new band for the 2017–18 to 2029–30 champions added to the bottom of the cup.  Currently, the Cup stands at 89.5 centimetres (351⁄4 inches) tall and weighs 151⁄2 kilograms (341⁄2 lb).

Traditions and anecdotes.

There are many traditions associated with the Stanley Cup. One of the oldest, started by the 1896 Winnipeg Victorias, dictates that the winning team drink champagne from the top bowl after their victory. The Cup is also traditionally presented on the ice to the captain of the winning team after the series-winning game; each member of the victorious club carries the trophy around the rink. However, this has not always been the case; prior to the 1930s, the Cup was not awarded immediately after the victory. The first time that the Cup was awarded on the ice may have been to the 1932 Toronto Maple Leafs, but the practice did not become a tradition until the 1950s. Ted Lindsay of the 1950 Cup champion Detroit Red Wings became the first captain, upon receiving the Cup, to hoist it overhead and skate around the rink. According to Lindsay, he did so to allow the fans to have a better view of the Cup. Since then, it has been a tradition for each member of the winning team, beginning with the captain, to take a lap around the ice with the trophy hoisted above his head.  The tradition of the captain first hoisting the Cup has been "breached" a few times. In 1987 after the Edmonton Oilers defeated the Philadelphia Flyers, Wayne Gretzky handed the Cup to Steve Smith, a year after Smith made a costly gaffe that cost the Oilers the chance of making their fourth consecutive Stanley Cup Finals appearance. The second occurred in 1993 after the Montreal Canadiens defeated the Los Angeles Kings, Guy Carbonneau handed the Cup to Denis Savard, as Savard had been the player that many fans had urged the Canadiens to draft back in 1980. The third was in 2001 involving Joe Sakic and Ray Bourque when the Colorado Avalanche won the Cup in 2001, as the seventh and deciding game of the finals was the last of Bourque's 22-year NHL career, having never been on a cup-winning team until that time (until being traded to the Avalanche on March 6, 2000, Bourque had played only for the Boston Bruins). When Sakic received the trophy, he did not hoist it, but instead immediately handed it to Bourque; Sakic then became the second player on the team to hoist the trophy.  The Stanley Cup championship team is allotted 100 days during off-season to pass around the Cup. It is always accompanied by at least one representative from the Hockey Hall of Fame. Although many players have unofficially spent a day in personal possession of the Cup, in 1995 the New Jersey Devils started a tradition wherein each member of the Cup-winning team is allowed to retain the Cup for a day. After the 1994–95 season, the NHL made it mandatory that one of the official Cup handlers always be present while the Cup is passed around among players in the off-season. This may have been related to Eddie Olczyk's handling of the Cup after the New York Rangers' 1994 win - Olczyk brought the Cup to the Belmont Stakes, where Kentucky Derby winner Go for Gin ate out of it.  Victors of the Cup have used it to baptize their children. Three players (the New York Islanders' Clark Gillies, the Anaheim Ducks' Sean O'Donnell, and the Pittsburgh Penguins' Nick Bonino) even allowed their dogs to eat out of the Cup.

Trustees.

The regulations set down by Lord Stanley call for two Trustees, who had the sole, joint right to govern the Cup and the conditions of its awarding until 1947, when they ceded control to the NHL. While the original regulations allow for a Trustee to resign, to date, all Cup Trustees have served until their deaths. In the event of a vacancy, the remaining trustee names the replacement for the deceased or resigned Trustee.  To date, nine men have served as Trustees of the Stanley Cup:

The Stanley Cup () is the championship trophy awarded annually to the National Hockey League (NHL) playoff winner. It is the oldest existing trophy to be awarded to a professional sports franchise in North America, and the International Ice Hockey Federation (IIHF) considers it to be one of the "most important championships available to the sport". The trophy was commissioned in 1892 as the Dominion Hockey Challenge Cup and is named after Lord Stanley of Preston, the Governor General of Canada, who donated it as an award to Canada's top-ranking amateur ice hockey club. The entire Stanley family supported the sport, the sons and daughters all playing and promoting the game. The first Cup was awarded in 1893 to Montreal Hockey Club, and winners from 1893 to 1914 were determined by challenge games and league play. Professional teams first became eligible to challenge for the Stanley Cup in 1906. In 1915, the National Hockey Association (NHA) and the Pacific Coast Hockey Association (PCHA), the two main professional ice hockey organizations, reached a gentlemen's agreement in which their respective champions would face each other annually for the Stanley Cup. It was established as the "de facto" championship trophy of the NHL in 1926 and then the "de jure" NHL championship prize in 1947.

La Coupe Stanley (en anglais : '), d'abord appelée ', est en Amérique du Nord un trophée de hockey sur glace décerné chaque année depuis 1927 par la Ligue nationale de hockey à l'équipe championne des séries éliminatoires.


Name.

In Hungarian, it is known as "Brassó megye", and in German as "Kreis Kronstadt". Under Kingdom of Hungary, a county with an identical name (Brassó County, ) was created in 1876, covering a smaller area.

Demographics.

In October 20, 2011, it had a population of 549,217 and the population density was 100/km2.  Traditionally the Romanian population was concentrated in the West and South-West of the County, the Hungarians are in the East part of the county, and the Germans were in the North and around Brașov city.

Geography.

The county has a total area of 5,363 km2.  The South side comprises the Carpathian Mountains (Southern Carpathians and Eastern Carpathians) with Făgăraș Mountains, Bucegi Mountains, Piatra Mare Mountains, Piatra Craiului Mountains and the Postăvarul Massif. In the east side there is the Brașov Depression, and in the west side there is the Olt River valley. Between them there are the Perșani Mountains. The North and West side of the county is crossed by the Olt River.

Economy.

Brașov is one of the most prosperous regions of Romania and has a tradition in industry. During World War II, IAR 80 and towards the end of the war Bf 109, fighter aircraft were built in Brașov. During the communist period it was heavily industrialised, and its heritage were some very large industrial complexes. Some of them managed to survive and adapt to the capitalist type market economy, some of them didn't, leaving behind them a high rate of unemployment. Due to new investments, mainly foreign ones, the economy managed to partially recover.  The predominant industries in the county are:  Around Victoria there are big chemical complexes which pollute the region.

Tourism.

Brașov contains some of the most attractive tourist destinations in Romania.  The main tourist attractions in the county are:

Politics.

The Brașov County Council, elected at the 2016 local government elections, is made up of 35 counselors, with the following party composition:

Administrative divisions.

Brașov County has 4 municipalities, 6 towns and 48 communes:

Historical county.

Historically, the county was located in the central part of Greater Romania, in the southeastern part of Transylvania. Its capital was Brașov. Its territory included the part of the old region of Țara Bârsei. The county's territory was enlarged as a result of the administrative reform of 1925. Its territory covered the eastern part of today's Braşov County, and the south of today's Covasna County.  It was bordered on the west by the counties of Făgăraș and Muscel, to the north by Trei Scaune County, to the east by Buzău County, and to the south by the counties of Prahova and Dâmbovița.

History.

Prior to World War I, the territory of the county belonged to Austria-Hungary and was identical with the Brassó County of the Kingdom of Hungary. The territory of Brașov County was transferred to Romania from Hungary as successor state to Austria-Hungary in 1920 under the Treaty of Trianon.  In 1938, King Carol II promulgated a new Constitution, and subsequently he had the administrative division of the Romanian territory changed. (approximate translation: "lands") were created (by merging the counties) to be ruled by "rezidenți regali" (approximate translation: "Royal Residents") - appointed directly by the King - instead of the prefects. Brașov County became part of Ținutul Argeș.  In 1940, part of the county was transferred back to Hungary with the rest of Northern Transylvania under the Second Vienna Award. Beginning in 1944, Romanian forces with Soviet assistance recaptured the ceded territory and reintegrated it into Romania. Romanian jurisdiction over the entire county per the Treaty of Trianon was reaffirmed in the Paris Peace Treaties, 1947. The county was disestablished by the communist government of Romania in 1950, and re-established in 1968 when Romania restored the county administrative system.

Administration.

Until the administrative reform of 1925, Brasov County was divided into three administrative districts ("plăṣi"), 23 rural communes, and one urban commune (Brașov).  After 1925, the area of the county was similarly divided into three districts:  Plasa Bran included the following settlements: Bran, Codlea, Cristian, Fundata, Ghimbav, Hălchiu, Holbav, Măgura, Moieciul de Jos, Moieciul de Sus, Peștera, Poiana Mărului, Predeal, Râșnov, Satu Nou, Simon, Sohodol, Șirnea, Tohanu Nou, Tohanu Vechi, Țânțari, Vlădeni, Vulcan, and Zărnești.  Plasa Buzăul included the following settlements: Barcani, Budila, Dobârlău, Întorsura Buzăului, Mărcuș, Sărămaș, Sita Buzăului, Teliu, and Vama Buzăului.  Plasa Săcele included the following settlements: Apața, Baciu, Bod, Cernatu, Crizbav, Feldioara, Hărman, Măieruș, Prejmer, Purcăreni, Rotbav, Satulung, Sânpetru, Tărlungeni, Turcheș, and Zizin.

Economy.

As a mountain county, agriculture was poorly developed in Brașov. Much of the county's land was covered with potatoes, and orchards were planted in the hilly areas. An important concern was livestock breeding (cattle, pigs).  Such industry as there was in the county was concentrated in the city of Brașov. In 1925, it had production centers in the chemical, metallurgical, construction, food, textile, machine, pharmaceutical and light industries. Surrounding areas excelled in the metallurgy, extractive, construction, food, textile and light industry. The city of Brașov was also the main outlet of the county for local products.  Among the natural richness of the county were Zizin's mineral waters, containing sodium bicarbonate, iron, iodine, and carbonic acid. Lignite was exploited at Prejmer, and bituminous coal at Vulcan and Cristian.

Education.

In 1925, there was a state high school (lyceum) for boys and another one for girls, four religious high schools for boys, a gymnasium, six secondary schools, four commercial schools, a normal school for educators, a school of arts and crafts and a school of state for commercial and industrial apprentices. The number of state primary schools was 19 and the religious was 53 (of which, in Romanian language: 17 Orthodox and 3 Roman Catholic; in German language: 2 Roman Catholic and 18 Lutheran; in Hungarian language: 2 Reformed and 10 Lutheran; and one Jewish school)

Population.

The census of 1920 reported 101,953 inhabitants (about 68/km2), of which 36,138 were ethnic Romanians, 33,584 Hungarians, 30,281 Germans, 1,560 Jews, and 390 of other nationalities.  According to the census data of 1930, the county's population was 168,125, of which 49.9% were Romanians, 26.6% Hungarians, 19.8% Germans, as well as other minorities. In the religious aspect, the population consisted of 48.8% Eastern Orthodox, 27.8% Lutheran, 9.9% Roman Catholic, 6% Reformed, 2.4% Greek Catholic, 1.7% Jewish, as well as other minorities.

Urban population.

In 1930, the urban population of the county was 59,232, of which 39.3% were Hungarians, 32.7% Romanians, 22.0% Germans, 3.8% Jews, as well as other minorities. As a mother tongue in the urban population, Hungarian was 42.2%, followed by Romanian (32.7%), German (22.4%), Yiddish (0.9%) as well as other minorities. From the religious point of view, the urban population was made up of 30.0% Eastern Orthodox, 22.3% Roman Catholic, 22.0% Evangelical (Lutheran), 13.9% Reformed (Calvinist), 4.4% Jewish, 3.5% Greek Catholic, 3.2% Unitarian, as well as other minorities.

Brașov County () is a county (județ) of Romania, in Transylvania, with the capital city at Brașov. The county incorporates within its boundaries most of the Medieval "lands" ("țări") Burzenland and Făgăraș.

Brașov () est un județ de Roumanie, situé dans le centre du pays, dans la région historique de Transylvanie. Son chef-lieu est Brașov.


Description.

The stems are woody, tortuous, with short, horizontal rooting branches. The leaves are glabrous above, densely white-tomentose beneath. The flowers are produced on stalks long, and have eight creamy white petals - hence the specific epithet "octopetala". The style is persistent on the fruit with white feathery hairs, functioning as a wind-dispersal agent. The feathery hairs of the seed head first appear twisted together and glossy before spreading out to an expanded ball which the wind quickly disperses.

Distribution.

"Dryas octopetala" has a widespread occurrence throughout mountainous areas where it is generally restricted to limestone outcrops. These include the entire Arctic, as well as the mountains of Scandinavia, Iceland, the Alps, Carpathian Mountains, Balkans, Caucasus and in isolated locations elsewhere. In Great Britain it occurs in the Pennines (northern England), at two locations in Snowdonia (north Wales), and more widely in the Scottish Highlands; in Ireland it occurs on The Burren and a few other sites. In North America it is found in Alaska, most frequently on previously glaciated terrain, and through the Canadian rockies reaching as far south as Colorado in the Rocky Mountains. It grows in dry localities where snow melts early, on gravel and rocky barrens, forming a distinct heath community on calcareous soils.

Climatology.

The Younger Dryas, Older Dryas and Oldest Dryas stadials are named after "Dryas octopetala", because of the great quantities of its pollen found in cores dating from those times. During these cold spells, "Dryas octopetala" was much more widely distributed than it is today, as large parts of the northern hemisphere that are now covered by forests were replaced in the cold periods by tundra.

Cultivation.

"D. octopetala" is cultivated in temperate regions as groundcover, or as an alpine or rock garden plant. It has gained the Royal Horticultural Society's Award of Garden Merit. The leaves are occasionally used as a herbal tea.

Dryas octopetala, the mountain avens, eightpetal mountain-avens, white dryas or white dryad, is an Arctic–alpine flowering plant in the family Rosaceae. It is a small prostrate evergreen subshrub forming large colonies. The specific epithet "octopetala" derives from the Greek "octo" (eight) and "petalon" (petal), referring to the eight petals of the flower, an unusual number in the Rosaceae, where five is the normal number. However, flowers with up to 16 petals also occur naturally.

La dryade à huit pétales (Dryas octopetala) est une plante dicotylédone de la famille des "Rosaceae". Vivace, à racine pivotante, hermaphrodite, c'est un sous-arbrisseau nain et rampant se propageant facilement sur les substrats caillouteux de montagne ou plaine.


Biography.

Early years.

Law was born into a family of bankers and goldsmiths from Fife; his father, William, had purchased Lauriston Castle, a landed estate at Cramond on the Firth of Forth and was known as Law of Lauriston. Upon leaving the High School of Edinburgh, Law joined the family business at age fourteen and studied the banking business until his father died in 1688. Law subsequently neglected the firm in favour of more extravagant pursuits and travelled to London, where he lost large sums of money in gambling.  On 9 April 1694, John Law fought a duel with another British dandy, Edward "Beau" Wilson, in Bloomsbury Square, London. Wilson had challenged Law over the affections of Elizabeth Villiers. Law killed Wilson with a single pass and thrust of his sword. He was arrested, charged with murder and stood trial at the Old Bailey. He appeared before the infamously sadistic "hanging judge" Salathiel Lovell and was found guilty of murder and sentenced to death. He was initially incarcerated in Newgate Prison to await execution. His sentence was later commuted to a fine, upon the ground that the offence only amounted to manslaughter. Wilson's brother appealed and had Law imprisoned, but he managed to escape to Amsterdam.

Economist beginnings.

Law urged the establishment of a national bank to create and increase instruments of credit and the issue of banknotes backed by land, gold, or silver. The first manifestation of Law's system came when he had returned to Scotland and contributed to the debates leading to the Treaty of Union 1707. He published a text entitled "Money and Trade Considered: with a Proposal for Supplying the Nation with Money" (1705). Law's propositions of creating a national bank in Scotland were ultimately rejected, and he left to pursue his ambitions abroad.  He spent ten years moving between France and the Netherlands, dealing in financial speculations. Problems with the French economy presented the opportunity to put his system into practice.  He had the idea of abolishing minor monopolies and private farming of taxes. He would create a bank for national finance and a state company for commerce, ultimately to exclude all private revenue. This would create a huge monopoly of finance and trade run by the state, and its profits would pay off the national debt. The council called to consider Law's proposal, including financiers such as Samuel Bernard, rejected the proposition on 24 October 1715.  Law made his home in Place Louis-le-Grand, a royal square where he hosted and entertained various Parisian nobles. Gaining the attention of such notable people as the Duke of Orleans, Law quickly found himself a regular in high-stakes gambling parties attended by only the most affluent of Paris. His tall stature and elegant dress allowed Law to charm his way across Europe's financial hubs, from Amsterdam to Venice. These travels heavily influenced Law's theories on monetary policy and the importance of paper money as credit. Law's idea of a centralised bank which would deal in a new form of paper money was years ahead of its time. Despite this forward concept, Law still championed mercantilist beliefs with the promotion of monopolistic companies through government charters.  The wars waged by Louis XIV left the country completely wasted, both economically and financially. The resultant shortage of precious metals led to a shortage of coins in circulation, which in turn limited the production of new coins. With the death of Louis XIV seventeen months after Law's arrival, the Duke of Orleans finally presented Law with the opportunity to display his ingenuity. Since, following the devastating War of the Spanish Succession, France's economy was stagnant and her national debt was crippling, Law proposed to stimulate industry by replacing gold with paper credit and then increasing the supply of credit, and to reduce the national debt by replacing it with shares in economic ventures. On 1 May 1716, Law presented a modified version of his centralised bank plan to the Banque Générale which approved a private bank that allowed investors to supply one-fourth of an investment in currency and the other parts in defunct government bonds. The second key feature of the proposal centred on the premise that this private bank was able to issue its own currency backed by Louis of gold. This enabled the currency to be redeemed by the weight of silver from the original deposit instead of the fluctuating value of the livres which had been devaluing rapidly.  In May 1716 Law set up the Banque Générale Privée ("General Private Bank"), which developed the use of paper money. It was one of only six such banks to have issued paper money, joining Sweden, England, Holland, Venice, and Genoa. The bank was nationalised in December 1718 at Law's request.  From this new banking platform, Law was able to pursue the monopoly companies he envisioned by having France bankroll the endeavour with 100 million "livres" in the form of company stock. The founding of the Mississippi Company, later renamed the Occident Company and eventually part of the Company of the Indies, was financed in the same way as the bank.  In this context the regent, Philippe d'Orléans, appointed Law as Controller General of Finances in 1720, effectively giving him control over external and internal commerce. The rapid ascension of this new global monopoly led to massive speculation and stock prices ballooned to over sixty times their original value.  As Controller General, Law instituted many beneficial reforms (some of which had lasting effect, while others were soon abolished). He tried to break up large land-holdings to benefit the peasants; he abolished internal road and canal tolls; he encouraged the building of new roads, the starting of new industries (even importing artisans but mostly by offering low-interest loans), and the revival of overseas commerce—and indeed industry increased 60% in two years, and the number of French ships engaged in export went from sixteen to three hundred.

Company of the West.

Law became the architect of what would later be known as the Mississippi Bubble, an event that would begin with consolidating the trading companies of Louisiana into a single monopoly (The Mississippi Company), and ended with the collapse of the Banque Générale and subsequent devaluing of the Mississippi Company's shares.  In 1719, the French government allowed Law to issue 50,000 new shares in the Mississippi Company at 500 livres with just 75 livres down and the rest due in nineteen additional monthly payments of 25 livres each. The share price rose to 1,000 livres before the second instalment was even due, and ordinary citizens flocked to Paris to participate.  In October 1719 Law's Company lent the French state 1.5 billion livres at 3% to pay off the national debt, a transaction funded by issuing a further 300,000 shares in the company.  Between May and December 1719 the market price of a share rose from 500 to 10,000 livres and continued rising into early 1720, supported by Law's 4% dividend promise. Under rapidly emerging price inflation, Law sought to hold the share price at 9,000 livres in March 1720, and then on 21 May 1720 to engineer a controlled reduction in the value of both notes and the shares, a measure that was itself reversed 6 days later.  As the public rushed to convert banknotes to coin, Law was forced to close the Banque Générale for ten days, then limit the transaction size once the bank reopened. But the queues grew longer, the Mississippi Company stock price continued to fall, and food prices soared by as much as 60 percent.  The fractional reserve ratio was one fifth, and a Royal edict to criminalise the sale of gold was decreed. A later Royal edict decreed that gold coin was illegal, which was soon reversed, leading 50 people to be stampeded to death. The company's shares were ultimately rendered worthless, and initially inflated speculation about their worth led to widespread financial stress, which saw Law dismissed at the end of 1720 from his sinecure as Controller General and his post as Chief Director of the Banque Générale.

Downfall.

Speculation gave way to panic as people flooded the market with future shares trading as high as fifteen thousand livres per share, while the shares themselves maintained at ten thousand livres each. By May 1720, prices fell to 4,000 livres per share, a 73% decrease within a year. The rush to convert paper money to coins led to sporadic bank hours and riots. Squatters now occupied the square of Palace Louis-le-Grand and openly attacked the financiers that inhabited the area. It was under these circumstances and the cover of night that John Law left Paris some seven months later, leaving all of his substantial property assets in France, including the Place Vendôme and at least twenty-one Chateaux which he had purchased over his years in Paris, for the repayment of creditors.  The descent of a relatively unknown man came as fast as his rise, leaving an economic power vacuum. Law's theories live on 300 years later and "captured many key conceptual points which are very much a part of modern monetary theorizing".

Later years.

Law initially moved to Brussels on 22 December 1720 in impoverished circumstances as his properties in France were voluntarily confiscated. He spent the next few years gambling in Rome, Copenhagen and Venice but never regained his former prosperity. Law realised he would never return to France when Orléans died suddenly in 1723 and Law was granted permission to return to London, having received a pardon in 1719. He lived in London for four years and then moved to Venice, where he contracted pneumonia and died as a poor man in 1729.

Cultural references.

Sharon Condie and Richard Condie's 1978 National Film Board of Canada (NFB) animated short "John Law and the Mississippi Bubble" is a humorous interpretation. The film was produced by the NFB at its newly opened Winnipeg studio. It opened in Canadian cinemas starting in September 1979 and was sold to international broadcasters. The film received an award at the Tampere Film Festival.  John Law is the focus of Rafael Sabatini's 1949 novel "The Gamester"  John Law is referenced in Voltaire's 'Dictionnaire Philosophique', as part of the entry on reason.

John Law (baptised 21 April 1671 – 21 March 1729) was a Scottish economist who distinguished money, only a means of exchange, from national wealth that depended on trade. He served as Controller General of Finances of France under the Duke of Orleans, who was regent for the youthful king, Louis XV. In 1716 Law established the private Banque Générale in France. A year later was nationalised at his request as the Banque Royale, the first Central Bank of France. The original private bank was substantially funded by John Law and Louis XV; three-quarters of its capital consisted of government bills and government-accepted notes, effectively making it both the first central bank of the nation and since only partially backed by silver, a fractional reserve bank. Law set up and directed the Mississippi Company, funded by the "Banque royale." Its chaotic collapse in France has been compared to the early-17th century tulip mania in Holland. The Mississippi Bubble was contemporaneous with the South Sea Company bubble in England, which allegedly ideas from it. Law as a gambler was known to win card games by mentally calculating odds. He originated ideas such as the scarcity theory of value and the real bills doctrine. He held that money creation stimulates the economy, paper money is preferable to metal, and shares are a superior form of money as they pay dividends. The term "millionaire" was coined to describe beneficiaries of Law's scheme.

John Law, né le à Édimbourg et mort le à Venise, est un aventurier, banquier et économiste écossais. Il fut l'inventeur du "Système de Law", puis ministre des Finances du royaume de France, qui lui doit l'introduction du billet de banque et d'une des premières bourses au monde. Son idée économique est que l'argent est un moyen d'échange et ne constitue pas une richesse en soi. La richesse nationale dépend du commerce. Pour la France, il est le père de la finance et de l'utilisation du papier-monnaie à la place des espèces métalliques et des factures. Il est aussi un acteur central de l'histoire des bourses de valeurs pour avoir réalisé les premières grandes émissions de titres. Il créa la Compagnie d'Occident, après avoir racheté la Compagnie du Mississippi.


Plot.

Eleven-year-old Charlie Bucket is very poor and lives in a small house with his parents and four grandparents. One day, Grandpa Joe tells him about the legendary and eccentric chocolatier Willy Wonka and all the wonderful sweets and chocolates he made until the other chocolatiers sent in spies to steal his secret recipes, which led him to close the factory to outsiders. The next day, the newspaper announces that Wonka is re-opening the factory and has invited five lucky children to come on a tour, if they find a Golden Ticket inside a Wonka Bar. The first four golden tickets are found by four ill-mannered children: the gluttonous Augustus Gloop, the spoiled and petulant Veruca Salt, the chewing gum-addicted Violet Beauregarde, and the television-obsessed Mike Teavee.  One day, Charlie sees a 50 pence piece (dollar bill in the US version) buried in the snow. He buys a Wonka Bar and finds the fifth and final golden ticket. He gets offers from many parents but he refuses to give it to anybody. The ticket says he can bring one or two family members with him and Charlie's parents decide to allow Grandpa Joe to go with him.  When the tour begins, Wonka takes the five children and their parents inside the factory, which is a wonderland of confectionery creations that defy logic. They meet the Oompa-Loompas, a race of small people who help him operate the factory.  During the tour, the four "bad" children give in to their individual vices and are ejected from the tour in comical, mysterious, and painful ways. Augustus gets sucked up the pipe to the Fudge Room after drinking from the Chocolate River, Violet blows up into a giant blueberry after chewing an experimental stick of three-course dinner gum, Veruca is thrown down the garbage chute after trying to capture one of the nut-testing squirrels and is considered a "bad nut," and Mike gets shrunk down to size after being sent by Wonkavision while the Oompa-Loompas sing about their behaviour.  With only Charlie remaining in the end, Wonka congratulates him for "winning" the factory. Wonka explains that the whole tour was designed to help him secure a good person to serve as an heir to his business, and Charlie was the only child whose inherent goodness allowed him to pass the morality test. They ride the Great Glass Elevator to Charlie's house; the other four children each go home with a lifetime supply of chocolate, as well as permanent disfigurements from their misbehaviour. Wonka then invites Charlie's family to come and live with him in the factory.

Publication.

Dahl’s widow said that Charlie was originally written as 'a little black boy.' Dahl’s biographer said the change to a white character was driven by Dahl’s agent, who thought a black Charlie would not appeal to read.  In the first published edition, the Oompa-Loompas were described as African pygmies, and were drawn this way in the original printed edition. After the announcement of a film adaptation sparked a statement from the NAACP expressing concern that the transportation of Oompa-Loompas to Wonka's factory resembled slavery, Dahl found himself sympathising with the NAACP's concerns and published a revised edition. In this edition, as well as the subsequent sequel, the Oompa-Loompas were drawn as being white and appearing similar to hippies, and the references to Africa were deleted. Dahl later expressed regret over the original version, saying that his original intention of depicting Charlie as a black child was evidence that he was not racist.

Unused chapters.

Various unused and draft material from Dahl's early versions of the novel have been found. In the initial, unpublished drafts of "Charlie and the Chocolate Factory" nine golden tickets were distributed to tour Willy Wonka's secret chocolate factory and the children faced more rooms and more temptations to test their self-control. Some of the names of the children cut from the final work include:

"Spotty Powder".

"Spotty Powder" was first published as a short story in 1973. In 1998 it was included in the children's horror anthology "Scary! Stories That Will Make You Scream" edited by Peter Haining. The brief note before the story described the story as having been left out of "Charlie and the Chocolate Factory" due to an already-brimming number of misbehaving children characters in the tale. In 2005, "The Times" reprinted "Spotty Powder" as a "lost" chapter, saying that it had been found in Dahl's desk, written backwards in mirror writing (the same way that Leonardo da Vinci wrote in his journals). Spotty Powder looks and tastes like sugar, but causes bright red pox-like spots to appear on faces and necks five seconds after ingestion, so children who eat Spotty Powder do not have to go to school. The spots fade on their own a few hours later. After learning the purpose of Spotty Powder, the humourless, smug Miranda Piker and her equally humourless father (a schoolmaster) are enraged and disappear into the Spotty Powder room to sabotage the machine. Soon after entering, they are heard making what Mrs. Piker interprets as screams. Mr. Wonka assures her (after making a brief joke where he claims that headmasters are one of the occasional ingredients) that it is only laughter. Exactly what happens to them is not revealed in the extract.  In an early draft, sometime after being renamed from Miranda Grope to Miranda Piker, but before "Spotty Powder" was written, she falls down the chocolate waterfall and ends up in the Peanut-Brittle Mixer. This results in the "rude and disobedient little kid" becoming "quite delicious." This early draft poem was slightly rewritten as an Oompa-Loompa song in the lost chapter, which now puts her in the "Spotty-Powder mixer" and instead of being "crunchy and... good [peanut brittle]" she is now "useful [for truancy] and... good."

"The Vanilla Fudge Room".

In 2014, "The Guardian" revealed that Dahl had removed another chapter ("The Vanilla Fudge Room") from an early draft of the book. "The Guardian" reported the now-eliminated passage was "deemed too wild, subversive and insufficiently moral for the tender minds of British children almost 50 years ago." In what was originally chapter five in that version of the book, Charlie goes to the factory with his mother (instead of his grandfather, as originally published). At this point, the chocolate factory tour is down to eight kids, including Tommy Troutbeck and Wilbur Rice. After the entire group climbs to the top of the titular fudge mountain, eating vanilla fudge along the way, Troutbeck and Rice decide to take a ride on the wagons carrying away chunks of fudge. The wagons take them directly to the Pounding And Cutting Room, where the fudge is reformed and sliced into small squares for retail sale. Wonka states the machine is equipped with "a large wire strainer... which is used specially for catching children before they fall into the machine" adding that "It always catches them. At least it always has up to now."  The chapter dates back to an early draft with ten golden tickets, including one each for Miranda Grope and Augustus Pottle, who fell into the chocolate river prior to the events of "Fudge Mountain". Augustus Pottle was routed to the Chocolate Fudge Room, not the Vanilla Fudge Room explored in this chapter, and Miranda Grope ended up in the Fruit and Nuts Room. In a later draft, she became known as Miranda Mary Piker, who went to the Peanut Brittle Room.

"The Warming Candy Room".

Also in 2014, "Vanity Fair" published a plot summary of "The Warming Candy Room", wherein three boys eat too many "warming candies" and end up "bursting with heat."  The Warming Candy Room is dominated by a boiler, which heats a scarlet liquid. The liquid is dispensed one drop at a time, where it cools and forms a hard shell, storing the heat and "by a magic process... the hot heat changes into an amazing thing called 'cold heat.'" After eating a single warming candy, one could stand naked in the snow comfortably. This is met with predictable disbelief from Clarence Crump, Bertie Upside, and Terence Roper, who proceed to eat at least 100 warming candies each, resulting in profuse perspiration. The three boys and their families discontinue the tour after they are taken to cool off "in the large refrigerator for a few hours."

"The Children's-Delight Room".

Roald Dahl originally planned for a child called Marvin Prune to be included in "Charlie and the Chocolate Factory". Dahl submitted the excised chapter regarding Marvin Prune to "The Horn Book Review" in the early 1970s. Rather than publish the chapter, "Horn Book" responded with a critical essay by novelist Eleanor Cameron, who criticised Dahl's worth as a human being.  Although it was believed that "Horn Book" never returned the chapter, Marvin Prune's chapter is actually available, but it has not yet been published. "The Children's-Delight Room" was reworked into "Spotty Powder". It is present in two versions. One features the workers from "The Vanilla Fudge Room" but also include "tiny whispery voices" who sing the songs after each child's exit, and Charlie with his mother and father. The second version features Grandpa Joe, Charlie's grandfather, who is present in the final book, and the Oompa-Loompas. In the version with the voices, the voices actually sing two songs, a two-verse type one found in "The Vanilla Fudge Room", plus a longer one like the type that is found in the final book. Like Miranda, Marvin loves school and suffers the same fate as her—supposedly getting ground into powder.

Reception.

Fan of the book since childhood, film director Tim Burton wrote: "I responded to "Charlie and the Chocolate Factory" because it respected the fact that children can be adults." In a 2006 list for the Royal Society of Literature, author J. K. Rowling (author of the Harry Potter books) named "Charlie and the Chocolate Factory" among her top ten books that every child should read.  A 2004 study found that it was a common read-aloud book for fourth-graders in schools in San Diego County, California. A 2012 survey by the University of Worcester determined that it was one of the most common books that U.K. adults had read as children, after "Alice's Adventures in Wonderland", "The Lion, the Witch and the Wardrobe", and "The Wind in The Willows".  Groups who have praised the book include:  In the 2012 survey published by "SLJ", a monthly with primarily US audience, "Charlie" was the second of four books by Dahl among their Top 100 Chapter Books, one more than any other writer. "Time" magazine in the US included the novel in its list of the 100 Best Young-Adult Books of All Time; it was one of three Dahl novels on the list, more than any other author.  Although the book has always been popular and considered a children's classic by many literary critics, a number of prominent individuals have spoken unfavourably of the novel over the years. Children's novelist and literary historian John Rowe Townsend has described the book as "fantasy of an almost literally nauseating kind" and accused it of "astonishing insensitivity" regarding the original portrayal of the Oompa-Loompas as African black pygmies, although Dahl did revise this in later editions. Another novelist, Eleanor Cameron, compared the book to the sweets that form its subject matter, commenting that it is "delectable and soothing while we are undergoing the brief sensory pleasure it affords but leaves us poorly nourished with our taste dulled for better fare." Ursula K. Le Guin wrote in support of this assessment in a letter to "The Horn Book Review", saying that her own daughter would turn "quite nasty" upon finishing the book. Dahl responded to Cameron's criticisms by noting that the classics that she had cited would not be well received by contemporary children.

Adaptations.

"Charlie and the Chocolate Factory" has frequently been adapted for other media, including games, radio, the screen, and stage, most often as plays or musicals for children – often titled "Willy Wonka" or "Willy Wonka, Jr." and almost always featuring musical numbers by all the main characters (Wonka, Charlie, Grandpa Joe, Violet, Veruca, etc.); many of the songs are revised versions from the 1971 film.

Audiobook.

In 2002, Monty Python member Eric Idle narrated the audiobook version of "Charlie and the Chocolate Factory".

Editions.

"Charlie and the Chocolate Factory" has undergone numerous editions and been illustrated by numerous artists.

50th anniversary cover controversy.

The cover photo of the 50th anniversary edition, published by Penguin Modern Classics for sale in the UK and aimed at the adult market, received widespread commentary and criticism. The cover is a photo of a heavily made up young girl seated on her mother's knee and wearing a doll-like expression, taken by the photographers Sofia Sanchez and Mauro Mongiello as part of a photo shoot for a 2008 fashion article in a French magazine, for a fashion article titled "Mommie Dearest." In addition to writing that "the image seemingly has little to do with the beloved children's classic", reviewers and commentators in social media (such as posters on the publisher's Facebook page) have said the art evokes "Lolita", "Valley of the Dolls", and JonBenet Ramsey; looks like a scene from "Toddlers & Tiaras"; and is "misleading," "creepy," "sexualised," "grotesque," "misjudged on every level," "distasteful and disrespectful to a gifted author and his work," "pretentious," "trashy", "outright inappropriate," "terrifying," "really obnoxious," and "weird & kind of paedophilic."  The publisher explained its objective in a blog post accompanying the announcement about the jacket art: "This new image... looks at the children at the center of the story, and highlights the way Roald Dahl’s writing manages to embrace both the light and the dark aspects of life." Additionally, Penguin Press's Helen Conford told the Bookseller: "We wanted something that spoke about the other qualities in the book. It's a children's story that also steps outside children's and people aren't used to seeing Dahl in that way." She continued: "[There is] a lot of ill feeling about it, I think because it's such a treasured book and a book which isn't really a 'crossover book'" As she acknowledged: "People want it to remain as a children's book."  "The New Yorker" describes what it calls this "strangely but tellingly misbegotten" cover design thusly: "The image is a photograph, taken from a French fashion shoot, of a glassy-eyed, heavily made-up little girl. Behind her sits, a mother figure, stiff and coiffed, casting an ominous shadow. The girl, with her long, perfectly waved platinum-blond hair and her pink feather boa, looks like a pretty and inert doll—" The article continues: "And if the Stepford daughter on the cover is meant to remind us of Veruca Salt or Violet Beauregarde, she doesn't: those badly behaved squirts are bubbling over with rude life." Moreover, writes Talbot, "The Modern Classics cover has not a whiff of this validation of childish imagination; instead, it seems to imply a deviant adult audience."

Charlie and the Chocolate Factory is a 1964 children's novel by British author Roald Dahl. The story features the adventures of young Charlie Bucket inside the chocolate factory of eccentric chocolatier Willy Wonka.

Charlie et la Chocolaterie (titre original : "Charlie and the Chocolate Factory") est un roman pour enfants de l'auteur britannique Roald Dahl. Les aventures du jeune Charlie Bucket dans la chocolaterie de l'excentrique Willy Wonka sont très appréciées des enfants anglophones.


Terminology and themes.

In order to avoid confusing the two product lines, players refer to the most recent version of the World of Darkness line, released on August 21, 2004, as "New World of Darkness", and the previous version as "Classic World of Darkness". Prior to the re-release of cWoD it was often referred to as "oWoD" for "Original" or "Old" World of Darkness.  While the newer setting is superficially very similar, the overall theme is one of "dark mystery", with an emphasis on the unknown and personal horror. The apocalyptic theme present in cWoD has been removed from nWoD, as have the "Gothic-Punk" aspects of the world setting.  After White Wolf was purchased by Paradox Interactive in October 2015, the franchise was re-branded in December 2015. The "new World of Darkness" was renamed "Chronicles of Darkness", while the "Classic World of Darkness" has retained the name "World of Darkness".

One World of Darkness (formerly "Classic World of Darkness").

Sometimes also referred to as "Original World of Darkness" or "Old World of Darkness". The original World of Darkness line was created in 1991 with the release of "". Support for it ended in 2004 with the release of "Time of Judgment". The theme of the Classic World of Darkness is described as "Gothic-Punk" by the developers.  The World of Darkness resembles the contemporary world, but it is darker, more devious and more conspiratorial. The dichotomy between rich and poor, influential and weak, powerful and powerless, is much more pronounced than in the real world. Decadence, cynicism and corruption are common. Humans are unwitting victims or pawns of vast secret organizations of supernatural creatures. Vampires, werewolves and wraiths—among others—struggle with internal factionalism and against other species in secret wars of intrigue for control of reality. The battles in these wars may last centuries, beyond the realization or comprehension of ordinary humans. This status quo is recently threatened by the rise of a global Technocratic cabal (and/or an animistic spirit of stasis and control) intent on monopolizing the power of belief and destroying all traditional supernatural societies. The mystical abilities of these non-human entities and their ability to alter reality at will are restricted by the rise of reason and disbelief in the supernatural and they are forced to rely on more mundane methods in their struggles for supremacy.  The darkness of the setting is reflected everywhere: architecture is dominated by Gothic styling and fashion and personal style embrace Goth, Punk and fetishistic elements. The game uses both historical (Wild West, Dark Ages, and Victorian) milieus as well as modern settings. Despite the fantasy elements, the game emphasizes that any action has real world consequences, and abilities beyond what is considered normal by mainstream society will draw unwanted attention and potentially disastrous results.

Publication (settings).

White Wolf Publishing developed the following game sets in the Classic World of Darkness between 1991 and 2003:  Each consists of a Rulebook and a number of supplemental Sourcebooks, detailing specific clans and tribes, specific gadgets, and entire cities including descriptions of all the supernatural denizens. White Wolf Publishing also developed historical settings for their major product lines. These include:  After White Wolf Publishing acquired the rights to "Ars Magica", additions were made to that game's setting to bring it into the World of Darkness timeline. Atlas Games would later acquire "Ars Magica" and remove these alterations, and the connection between "Ars Magica" and the Classic World of Darkness is no longer considered canonical. Early advertisements for the "Exalted" game established it in a pre-historic age of the World of Darkness. Although many elements of "Exalted" correspond with the WoD, the two game lines were divorced after the classic WoD was brought to a conclusion.  A "World of Darkness" sourcebook was published in two editions as well and provided general guidelines for story creation on any continent and in any milieu. These outlined the differences between African therianthropes and North American ones, for example. There was also a similar title for "Werewolf" entitled "A World of Rage".

Annual themes.

Each subsequent year of publication had a different theme. This brought about new sets of character types, but more importantly it dictated the focus of all the sourcebooks published that year. For instance, "Vampire" and "Werewolf" produced sourcebooks in the "Year of the Lotus" cycle concerning a variety of Asian themed creatures and expansions.

End of cWoD (Time of Judgment).

In late 2003, White Wolf Publishing announced it would stop publishing new books for the line, bringing the published history of the setting to an end with a series called "The Time of Judgment". This event is described from different supernatural perspectives in four Sourcebooks: "Gehenna" (for "Vampire: the Masquerade"); "Apocalypse" (for "Werewolf: the Apocalypse"); "Ascension" (for "Mage: the Ascension"); and "Time of Judgement" (covering the rest of White Wolf's less-established product lines: "Demon: The Fallen", "Changeling: The Dreaming", "Kindred of the East", "Mummy: the Resurrection" and "Hunter: the Reckoning").  The publishers stated that, in doing so, they followed up on a promise that has existed in the World of Darkness since the first edition of "Vampire", with the concept of Gehenna, and in "Werewolf", with the Apocalypse, as well as some elements of some of the published material that pertain to 'end of the world' themes in other games. Fiction novels from each of the three major gaming lines concluded the official storyline.

Onyx Path.

In 2011, a 20th Anniversary Edition of "", also called V20, was released, and a series of further books for the cWoD were announced. Those books include conversion rules between some cWoD games and their nWoD counterparts, as well as material that was planned but not published before the End of the cWoD, as well as additional material for V20 and a 20th Anniversary book based on "".  For V20, as well as the upcoming V20 Companion and the 20th Anniversary "Werewolf: the Apocalypse" White Wolf Publishing used an "Open Development" approach, where readers and gamers could give feedback to the authors. At GenCon 2012, it was announced that Onyx Path Publishing will produce material to the new and classic World of Darkness as licensee. In November 2012, it was announced by Onyx Path Publishing that due to the resounding success of the W20 Kickstarter, which reached over 400% of its target funds goal, a 20th Anniversary "Mage: the Ascension" would be launched for 2013.  At GenCon 2012, the 2013 release schedule was outlined, including 2 new game settings, "Mummy: The Curse" and "Demon: The Descent." Onyx Path also announced that 2013 would feature a Revised World of Darkness 1.5 core rules update titled "The God-Machine Chronicle" (for New World of Darkness) and "The Strix Chronicle" (for Vampire: the Requiem).

"Vampire: The Eternal Struggle" (card game).

One of the earliest collectible card games (CCG) "" (formerly called "Jyhad") is also based on the original World of Darkness, staying very true to the setting. As one of the longest-running CCGs in existence, it is the only WoD product that has not been discontinued – the Gehenna-theme (end of the old WoD "Vampire" setting) was featured in one expansion, but further expansions have been produced, without any reboot of the franchise.

Television series.

In 1996, there was also a short lived TV series set in the WoD called "" that was produced by Spelling Television and broadcast by Fox. The show was based on the game "". It was canceled in the U.S. after only eight episodes. The possibility of a Canadian television station picking the show up was pre-empted by the death of Mark Frankel, one of the stars of the show.

Chronicles of Darkness (formerly "New World of Darkness").

Many details of the setting, especially in regards to its history, are left vague or otherwise have multiple explanations. The first editions of the New World of Darkness games left the core rules to a central rulebook, "", which was well received and won the Origins Gamers' Choice Award for 2004. This book established core rules and a tone and mood for games featuring human protagonists. The old setting also made humans a minor threat to the supernatural races, but the new rules make it possible for humans to be powerful opponents to the things in the night. In order to play other supernatural entities (such as Vampires or Mages), both the World of Darkness core and the specific book detailing the rules for that character type were required.  The second edition of rules was released in a companion volume for the core World of Darkness book called "The God-Machine Chronicle", and Vampire: the Requiem was given an unofficial second edition in "Blood and Smoke: The Strix Chronicle", which contained complete rules for the Vampire characters, including the core system that had previously only been found in the "World of Darkness" core book.  As White Wolf Publishing attempted to keep the original World of Darkness separate, the new World of Darkness was rebranded as the "Chronicles of Darkness", releasing a new core book with the "God-Machine Chronicle" errata folded in. "Blood and Smoke" received minimal changes to be re-released as "Vampire: the Requiem 2nd edition," and other games previously part of the New World of Darkness began work on their own second editions.

New rule system.

The Chronicles of Darkness rules are much more streamlined than the previous system. One 10-sided die is rolled for any 'dot' possessed in Attributes and Skills, and 1 success is achieved for every die showing a result of 8 or higher. The "10-again" rule has been added, in that a 10 indicates a re-roll, and the 10 still counts as a success (this rule was present in the original WoD only for Traits ranked at least 4 out of the usual maximum of 5, and then only for a "Specialty" or particular sub-field of the Trait's application). If another 10 is rolled, this step is repeated until anything but a 10 is rolled. 'Exceptional Successes' are indicated by having 5 or more successes on the action and can be regulated by the Storyteller. 'Dramatic Failures' are now only possible on "Chance" die rolls: When a dice pool is reduced by penalties to 0 or less, a single Chance die is rolled. If a 10 is rolled, it is a success (and, as mentioned above, is re-rolled). If the result is less than 10 but not 1, then it is a 'Simple Failure'. On a Chance die, if the roll is a 1, then it is a 'Dramatic Failure', which is usually worse than a Simple Failure of the action and is regulated by the Storyteller (although examples of Dramatic Failures in certain situations are frequently given).  The game also features a much more simplified combat system. In the old system, each attack made during a combat scene could easily involve 4 separate rolls and, in many cases, required more due to supernatural abilities possessed by the characters. Combat scenes involving large numbers of combatants could take a very long time to resolve. The new system requires only 1 roll which is adjusted by the defensive abilities of the character being attacked and represents both the success and failure of the attack, as well as the damage inflicted (indicated by number of successes).  The nature and demeanor rules which represented the personality of the characters that were common in the old games have also been removed. In the new system, characters have a virtue and a vice trait that not only represents the personality of the characters, depending on how well the player role-played the trait, but also represents actions that the character can take in order to regain willpower points that have been spent during the course of play. The vices are the same as the deadly sins (lust, gluttony, greed, sloth, wrath, envy, pride), while the virtues correspond to the four cardinal virtues (prudence, justice, temperance, courage) and three theological virtues (faith, hope, charity). In the game's second edition, players do not select virtues or vices from a list. Instead, they may select any lofty ideal to be their Virtue, and any guilty pleasure to be their Vice.  The morality stat represents the moral outlook of the character and the notion that, as a character takes more and more morally questionable actions, he/she will eventually stop feeling bad about it. A character with a high morality would be more moral and saintly, while a person with a low morality would be able to take more dubious actions. As a person's morality falls, they run the increasing risk of becoming mentally unstable. This, too, was changed in the second edition. Morality was replaced entirely by an "integrity" stat which reflects a character's mental stability. Integrity can be lowered not only by performing questionable actions, but by witnessing or being subjected to the horrors, supernatural or otherwise, that occur in the setting.

Publication.

The core setting.

The Chronicles of Darkness rules have improved compatibility between games; all characters are created as normal humans and thus have the same basic traits. Supernatural traits still vary for each character type, but their interactions with each other are governed largely by a single, simple mechanic. The playable supernatural types generally follow similar rules in terms of game mechanics, including:  The three core games are as follows:

Limited series setting.

In addition to the main three games, there are also additional limited series games. Like "Orpheus" for the Classic World of Darkness, each of these "fourth games" will have a limited series of approximately six books, including the core rulebook. The first such game is "Promethean: The Created" for August 2006, based largely on Frankenstein and similar stories of giving the unliving life through alchemy. The second game is "Changeling: The Lost", and was released in August 2007. It is a game based around characters that were taken and enslaved by Fairies similar to those of European folk tales, who managed to escape to find they were no longer human themselves, and must find a new place in life. Due to overwhelming positive response to "Changeling", White Wolf Publishing has continued publishing material for it, although it is not recognized as a Core series. The third game, "Hunter: The Vigil", was released in 2008, dealing with humans who decide to confront the supernatural. The fourth game, "Geist: The Sin-Eaters", came out in 2009. The game concerns characters known as sin-eaters who, at the point of death, bonded with one of the strange entities known as geists. They returned to life, and are now able to journey into the Underworld. No additional games were released in 2010 or 2011, but at the 2011 Gen Con, it was announced that a new "Mummy" game would be released in August 2012. It was announced at the Los Angeles By Night Convention that the newest World of Darkness game is "Demon: The Descent". At the 2014 Gen Con, Onyx Path announced that their next line would be "Beast: The Primordial". At the 2015 Gen Con, Onyx Path announced that "Deviant: The Renegades" would follow.

"Monte Cook's World of Darkness".

In August 2007, White Wolf published the single volume "Monte Cook's World of Darkness". It was a take on a "World of Darkness"-theme by veteran RPG-designer Monte Cook. It was advertised as his last RPG book, before he would shift to writing fiction. (Cook has since returned to RPGs.)  The World in this setting is an Earth that has, some time prior to the start of the game, been hit by a global catastrophe caused by extra-dimensional alien beings. These beings sought to enter reality, but have since been repelled by mankind's emotion or will. Starting with that catastrophe, several supernatural beings and phenomenon appear – some accidental, some induced by the aliens to make mankind suffer to a level that allows them to enter reality.  The game uses a d20-like system, with level-based advancement. It incorporates vampires, werewolves, mages, and demons into its setting, and has therefore some similarities to the classical/new World of Darkness. It also tries to capture certain aspects of these game worlds, like the mages' free magic system: the game offers d20 compatible rules to design spells and a magic system based on exhaustion, rather than a classic d20/D&D-like "spells per day" system.  Although sharing the "World of Darkness" title, this game is a setting in its own right.

"World of Darkness Online".

A merger between CCP Games and White Wolf Publishing was announced at the annual "EVE Online" fanfest in Reykjavík, Iceland, in November 2006. As part of the deal, it was announced that White Wolf would be adapting the "EVE Online" intellectual property into a role-playing game, and CCP Games announced a "World of Darkness Online" massively multiplayer online role-playing game (MMORPG). According to news at the time, work had already begun on a "World of Darkness" MMORPG and full-time production was to commence within the year and launch in four to five years. , full production of "World of Darkness Online" was scheduled to start March 2009 after the "EVE Online" expansion was finished according to CCP. Official confirmation that the game was in development surfaced in August 2009 on the official CCP web site.  The game was to be based on "Vampire: The Masquerade" and would have "focus[ed] on player politics and social interaction". According to Senior Producer Chris McDonough there "is no release date" set.  In October 2011, CCP announced that they would be significantly reducing the staff for the MMORPG, choosing instead to focus on the existing "EVE Online" universe.  In a February 2012 interview at Ten Ton Hammer it was reported that there were still at least 60 dedicated developers on the MMO and the project was still moving forward.  In April 2013, in an interview at EVE Fanfest 2013, it was reported that the "World of Darkness Online" team has worked on multiple projects at CCP, and were sharing technology with the company's other titles and teams. There are 70 people working on the tools and technology that will be used to build the World of Darkness and it was stressed that the game is in pre-production. Chris McDonough said "What we're doing is building a lot of tools, and we're trying to do it in a smart way... we have to be able to use the tools to make up the ground for the number of guys we have", and he also added "Now, we'll ramp the team up when it comes time to go into actual production but, for sure, we're making phenomenal progress". It was also announced the game was to be a next-generation MMO and will work like a vampire simulator. "We're making sure this is a next-generation MMO. It's very focused on movement and motion and capturing what it's like to be a vampire. People ask about our high level designs for "World of Darkness" and we've called this a vampire simulator. What's it like to be a vampire. Not a super hero, but a super-powered individual. The way the characters move around the city feels very vampiric", McDonough explained. The demo showed during the "World of Darkness" presentation at EVE Fanfest 2013, proved this out.  On April 14, 2014, CCP announced that the "World of Darkness" MMORPG was cancelled.  On October 29, 2015, Paradox Interactive announced that it bought White Wolf, including "World of Darkness" and "Vampire: The Masquerade" from CCP Games. Paradox stated it planned to create "multiple digital games titles" following this acquisition. White Wolf became a self-operating subsidiary of Paradox Interactive with its own management and goals.  In January 2017, White Wolf announced its partnership with video game publisher Focus Home Interactive for the video game adaptation of "", a tabletop role-playing game set in the World of Darkness. The game will be developed by the game development studio Cyanide and released on PC and consoles.

Now in print.

In 2011, White Wolf and online role playing game store DriveThruRPG.com, began offering the new and classic World of Darkness source books in a print on demand format through the DriveThruRPG website, starting with a number of formerly out of print "Vampire: The Masquerade" books, and gradually adding more as they were ready for print. DriveThruRPG and White Wolf have indicated that eventually all World of Darkness material will be available in this way.

World of Darkness are three related but distinct fictional universes created as settings for supernatural horror themed role-playing games. The first was conceived by Mark Rein-Hagen, while the second was designed by several people at White Wolf Gaming Studio, which Rein-Hagen helped to found. The first two World of Darkness settings have been used for several horror-themed role-playing games that make use of White Wolf's storyteller/storytelling system, as well as "Mind's Eye Theatre", a live action role-playing game based on the core games. The third, "Monte Cook's World of Darkness", created by Monte Cook based on the first two World of Darkness settings, includes only a single product.

Le Monde des ténèbres () est le nom donné à un univers de fiction rattaché à la "fantasy urbaine" et créé pour le jeu de rôle par Mark Rein-Hagen. Par extension, c'est également le nom donné à plusieurs gammes de jeux se déroulant dans cet univers, ainsi qu'à plusieurs livres détaillant l'univers pour ces gammes.


History.

In ancient times, Mendes was a famous city that attracted the notice of most ancient geographers and historians, including Herodotus (ii. 42, 46. 166), Diodorus (i. 84), Strabo (xvii. p. 802), Mela (i. 9 § 9), Pliny the Elder (v. 10. s. 12), Ptolemy (iv. 5. § 51), and Stephanus of Byzantium ("s. v."). The city was the capital of the Mendesian nome, situated at the point where the Mendesian arm of the Nile (, Scylax, p. 43; Ptol. iv, 5. § 10; "Mendesium ostium", Pliny, Mela, "ll. cc.") flows into the lake of Tanis. Archaeological evidence attests to the existence of the town at least as far back as the Naqada II period (4th millennium BCE). Under the first Pharaohs, Mendes quickly became a strong seat of provincial government and remained so throughout the Ancient Egyptian period. In Classical times, the nome it governed was one of the nomes assigned to that division of the native army which was called the "Calasires", and the city was celebrated for the manufacture of a perfume designated as the Mendesium unguentum. (Plin. xiii. 1. s. 2.) Mendes, however, declined early, and disappears in the first century AD; since both Ptolemy ("l. c.") and P. Aelius Aristides (iii. p. 160) mention Thmuis as the only town of note in the Mendesian nome. From its position at the junction of the river and the lake, it was probably encroached upon by their waters, after the canals fell into neglect under the Macedonian kings, and when they were repaired by Augustus (Sueton. "Aug." 18, 63) Thmuis had attracted its trade and population.

Religion.

The chief deities of Mendes were the ram deity "Banebdjedet" (lit. "Ba of the Lord of Djedet"), who was the Ba of Osiris, and his consort, the fish goddess Hatmehit. With their child Har-pa-khered ("Horus the Child"), they formed the triad of Mendes.  The ram deity of Mendes was described by Herodotus in his "History" as being represented with the head and fleece of a goat: "...whereas anyone with a sanctuary of Mendes or who comes from the province of Mendes, will have nothing to do with (sacrificing) goats, but uses sheep as his sacrificial animals... They say that Heracles' overriding desire was to see Zeus, but Zeus was refusing to let him do so. Eventually, as a result of Heracles' pleading, Zeus came up with a plan. He skinned a ram and cut off his head, then he held the head in front of himself, wore the fleece, and showed himself to Heracles like that. That is why the Egyptian statues of Zeus have a ram's head, is why rams are sacred to the Thebans, and they do not use them as sacrificial animals. However there is just one day of the year—the day of the festival of Zeus—when they chop up a single ram, skin it, dress the statue of Zeus in the way mentioned, and then bring the statue of Heracles up close to the statue of Zeus. Then everyone around the sanctuary mourns the death of the ram and finally they bury it in a sacred tomb."  Demonologists in early modern times often imagined Satan as manifesting himself as a goat or satyr, because goats had a reputation for lustful behavior and were used in the iconography of pre-Christian gods like Pan and the goat of Mendes. The occultist Eliphas Levi in his "Dogme et Rituel de la Haute Magie" (1855) drew an image of the fictitious medieval idol Baphomet that conflated it with the goat of Mendes and the imagery of the Satanic satyr. The image of the satyr-like Baphomet and its supposed connection with Mendes has since been repeated by various occultists, conspiracy theorists, and neopagans.

Ruins.

The site is today the largest surviving tell in the Nile delta, and consists of both Tell El-Ruba (the site of the main temple enclosure) and Tell El-Timai (the settlement site of Thmuis to the south). Overall, Mendes is about 3 km long from north to south and averages about 900m east-to-west. An Old Kingdom necropolis is estimated to contain over 9,000 interments. Several campaigns of 20th-century excavations have been led by North American institutions, including New York University and the University of Toronto, as well as a Pennsylvania State University team led by Donald Redford. Under the direction of Prof. Redford, the current excavations are concentrating on a number of areas in and around the main temple.  Work on the New Kingdom processional-style temple has recently uncovered foundation deposits of Merenptah below the second pylon. It is thought that four separate pylons or gates existed for each of the Avatars of the main deity worshiped here. Evidence has suggested that their construction dates from at least the Middle Kingdom, as foundation deposits were uncovered. The original structures were buried, added to, or incorporated into later ones over time by later rulers. Billy Morin, recently at University of Cambridge in England and now at Leiden University in the Netherlands led a team that investigated these further and uncovered several mud-brick walls acting as pylons and their foundations. Over thirty of the bricks were stamped with the cartouche of Menkheperre, the pre-nomen of Thutmose III.  A cemetery of sacred rams was discovered in the northwest corner of Tell El-Ruba. Monuments bearing the names of Ramesses II, Merneptah, and Ramesses III were also found. A temple attested by its foundation deposits was built by Amasis II. The tomb of Nepherites I, which Donald Redford concluded was destroyed by the Persians, was discovered by a joint team from the University of Washington and the University of Toronto in 1992–1993.  On the edge of the temple mound, a sondage supervised by Matthew J. Adams has revealed uninterrupted stratification from the Middle Kingdom down to the First Dynasty. Coring results suggest that future excavations in that sondage should expect to take the stratification down into the Buto-Maadi Period. The material excavated so far is already the longest uninterrupted stratification for all of the Nile Delta, and possibly for all of Egypt.

Mendes (, "gen".: Μένδητος), the Greek name of the Ancient Egyptian city of Djedet, also known in Ancient Egypt as Per-Banebdjedet ("The Domain of the Ram Lord of Djedet") and Anpet, is known today as Tell El-Ruba ().

Mendès (En grec : Μένδης, ou Djedet : "ddt" en égyptien ancien, ou Tell el-Rob'a ou Tall al-Rub en arabe : تل الربع) est une ancienne cité égyptienne du delta oriental sur une branche secondaire du Nil aujourd'hui ensablé, à proximité de l'actuel village d'El-Simbellawin, à environ d'El-Mansourah. Le site, qui porte le nom actuel de Tell el-Rob'a (ou Tall al-Rub), fut aussi connu dans l'Égypte antique sous le nom de "Per-Banebdjedet" (ou "Perbanebdjedet"), c'est-à-dire « Le domaine du Bâ du seigneur de Djedet ». Mendès sera la capitale du de Basse-Égypte, le nome « du dauphin » ("HAt-mHyt") jusqu'à ce qu'elle soit remplacée dans cette fonction à la période romaine, par Anpet-Thmuis, aujourd'hui appelée Tell el-Timai. Les deux villes n'étaient séparées que de quelques centaines de mètres de distance.