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The Aineta aryballos is an ancient Greek aryballos (a small, spherical flask or vase), made between approximately 625 and 570 BCE in the city of Corinth in southern Greece. Approximately 6.35 centimetres (2.50 in) in both height and diameter, it was intended to contain perfumed oil or unguent, and is likely to have been owned by a high-class courtesan (hetaira) by the name of Aineta, who may be portrayed in a drawing on its handle. The vase's illegal sale to the British Museum in 1865 led to the prosecution of its seller, the Athenian professor and art dealer Athanasios Rhousopoulos, and exposed his widespread involvement in antiquities crime.

The vase is inscribed with a portrait, generally agreed to be that of a woman and probably that of Aineta, who is named in the inscription on the vase. Below the portrait are the names of nine men, usually taken to be Aineta's admirers or lovers. The Aineta aryballos is likely to have been found in a grave, probably that of Aineta. According to Rhousopoulos, it was discovered in Corinth around 1852. In 1877, Panagiotis Efstratiadis, the Ephor General of Antiquities in charge of the Greek Archaeological Service, had Rhousopoulos fined for selling the vase in contravention of Greek law. Writing in 2012 for the Center for Hellenic Studies, Yannis Galanakis called the case "a milestone in the trafficking of Greek antiquities", in that it represented a relatively rare successful use of state power against the illegal trade in ancient Greek artefacts.[2]

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"I'm God" is an instrumental song by the American producer Michael Volpe, known professionally as Clams Casino, and the British singer Imogen Heap. Volpe created "I'm God" in 2009 by sampling Heap's song "Just for Now" (2005), after learning of her through a friend. Volpe sent the track to American rapper Lil B; the instrumental is featured on a song of the same name on Lil B's second mixtape, 6 Kiss (2009), containing his vocals. Volpe self-released "I'm God" in 2011 and, in 2012, it appeared on his Instrumentals 2 mixtape. Following years of unsuccessful attempts to clear the sample usage, it was officially released on streaming on April 24, 2020, appearing on Volpe's Instrumental Relics compilation.

A cloud rap song, "I'm God" is noted for its ethereal and dream-like aspects. It received a cult following on the Internet, being unofficially reuploaded by fans to social media, including in the form of a music video that incorporates clips from the French film Perdues dans New York (1989). "I'm God" went on to be influential to the cloud rap genre. It was certified gold in the United States by the Recording Industry Association of America.

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The 1925 FA Cup final was an association football match contested by Sheffield United and Cardiff City on 25 April 1925 at Wembley Stadium in London, England. The final was the showpiece match of English football's primary cup competition, the Football Association Challenge Cup (FA Cup), organised by the Football Association. Sheffield United won the game with a single goal.

Both teams entered the competition in the first round and progressed through five stages to reach the final. Sheffield United conceded only two goals en route to the final, both in a 3–2 victory over their local rivals The Wednesday in the second round. Cardiff also conceded twice before the final, once in the fourth round and once in the semi-final. They struggled to overcome Third Division North side Darlington in the first round, needing two replays to progress. This was the second time a team from outside England had reached an FA Cup final. The first, Scottish side Queens Park, played in the 1885 final. It was also the first time a Welsh team had reached the final of the competition.

Nearly 92,000 spectators attended the final. The only goal of the game was scored by Sheffield United's Fred Tunstall after 30 minutes when he dispossessed Harry Wake on the edge of the Cardiff penalty area before shooting past goalkeeper Tom Farquharson. Cardiff were unable to respond and the match finished 1–0, giving Sheffield United their fourth FA Cup triumph. The match remains the last time Sheffield United have won the competition. Cardiff returned to Wembley two years later, in the 1927 final, when they won the trophy for the first time.

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Black Slave's Cry to Heaven (traditional Chinese: 黑奴籲天錄; simplified Chinese: 黑奴吁天录; pinyin: Hēinú Yūtiān Lù) was a 1907 stage play performed by the Spring Willow Society, a Chinese student troupe, in Tokyo, Japan. Adapted by Zeng Xiaogu from a translation of Harriet Beecher Stowe's novel Uncle Tom's Cabin, the play focused on the experiences and eventual escape of two slaves, Eliza and George.

Modified to allegorically call attention to the experiences of Chinese migrants in the United States, Black Slave's Cry to Heaven was innovative in its use of spoken dialogue and realistic set designs. Performed twice at the Hongō-za Theatre, the show was well received by critics and audiences. Although its script has been lost, the play has inspired subsequent works. Due to its technical innovations and nationalist themes, Black Slave's Cry to Heaven has been canonized as the first modern, Western-style Chinese drama.

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The Legend of Zelda: Majora's Mask[a] is a 2000 action-adventure game developed and published by Nintendo for the Nintendo 64. It was the second The Legend of Zelda game to use 3D graphics, following Ocarina of Time (1998). Designed by a creative team led by Eiji Aonuma, Yoshiaki Koizumi, and Shigeru Miyamoto, Majora's Mask was completed in less than two years. It features enhanced graphics and several gameplay changes, but reuses elements and character models from Ocarina of Time, which the game's creators called a creative decision made necessary by time constraints.

The story takes place months after Ocarina of Time. Link arrives in a parallel world, Termina, and becomes embroiled in a quest to prevent the moon from crashing in three days' time. The game introduces gameplay concepts revolving around a perpetually repeating three-day cycle and the use of various masks that transform Link into different forms. As the player progresses through the game, Link learns to play numerous melodies on his ocarina, which allow him to control the flow of time, open hidden passages, or manipulate the environment. Characteristic of the Zelda series, completion of the game involves successfully navigating through several dungeons that contain complex puzzles and enemies. Majora's Mask requires the Expansion Pak add-on for the Nintendo 64, which provides additional memory for more refined graphics and greater capacity in generating on-screen characters.

Majora's Mask earned universal acclaim from critics and is widely considered one of the best video games ever made. It received praise for its level design, story, and surrealist art direction, and has been noted for its darker tone and themes compared to other Nintendo titles.[1] While the game only sold about half as many copies as its predecessor, it generated a substantial cult following.[2][3] The game was rereleased as part of The Legend of Zelda: Collector's Edition for the GameCube in 2003, via the Virtual Console service for the Wii and Wii U, and the Nintendo Classics service for Nintendo Switch. An enhanced remake for the Nintendo 3DS, The Legend of Zelda: Majora's Mask 3D, was released in 2015.

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Lemurs of Madagascar is a 2010 reference work and field guide for the lemurs of Madagascar, giving descriptions and biogeographic data for the known species. The primary contributor is Russell Mittermeier, president of Conservation International, and the cover art and illustrations are drawn by Stephen D. Nash. Currently in its third edition, the book provides details about all known lemur species, general information about lemurs and their history, and tips for identifying species. Four related pocket field guides have also been released, containing color illustrations of each species, miniature range maps, and species checklists.

The first edition was reviewed favorably in the International Journal of Primatology, Conservation Biology, and Lemur News. Reviewers, including Alison Jolly, praised the book for its depth of coverage, illustrations, and discussion of topics including conservation, evolution, and the recently extinct subfossil lemurs. Each agreed that the book was an excellent resource for a wide audience, including ecotourists and lemur researchers. A lengthy review of the second edition was published in the American Journal of Primatology, where it received similar favorable comments. The third edition was reviewed favorably in Lemur News; the reviewer praised the expanded content of the book but was concerned that the edition was not as portable as its predecessors.

The first edition identified 50 lemur species and subspecies, compared to 71 in the second edition and 101 in the third. The taxonomy promoted by these books has been questioned by researchers, such as Ian Tattersall, who view these growing numbers of lemur species as insufficiently justified inflation of species numbers.