Counter-Strike: Source is a remake of Counter-Strike using the Source game engine. As in the original, Counter-Strike: Source pits a team of counter-terrorists against a team of terrorists in a series of rounds; each round is won either by eliminating all members of the enemy team. The game was bundled with all retail and digital copies of Half-Life 2 before being released standalone. Counter-Strike: Source retains its team-based objective-orientated first-person shooter style gameplay; the aim of playing a map is to accomplish a map's objective: defusing the bomb, rescuing all hostages, or killing the entire opposing team. The ultimate goal of the game is to win more rounds than the opposing team. Once players are killed, they do not respawn until the next round, though this depends on which server people play on; this gameplay feature distinguishes Counter-Strike from other first-person shooter games, where players respawn or after a short delay. Shooting while moving decreases accuracy, holding the trigger down to continuously shoot produces severe recoil.
The severity of damage induced by weaponry is dependent upon the specific locations of hits, with hits to the head being most lethal and shots which make contact elsewhere causing lesser loss of health. Damage is affected by the distance, if the target wears protection. Counter-Strike: Source was released as a beta to members of the Valve Cyber Café Program on August 11, 2004. On August 18, 2004, the beta was released to owners of Counter-Strike: Condition Zero as well as those who had received a Half-Life 2 voucher bundled with some ATI Radeon video cards; the game was included with Half-Life 2 bundles, which were released on November 16, 2004. On October 11, 2006, Valve released an experimental update entitled Dynamic Weapons Pricing. Under this system, item prices are determined based on their demand the previous week. On March 5, 2010, Valve Corporation announced the release of games from its first-party library, including games from the Counter-Strike series, for Mac OS X; the ports were slated for release in April 2010.
Valve employed Hidden Path Entertainment to provide support on updating Counter-Strike: Source. On May 7, 2010, Valve released an update that includes new features and functionality developed in collaboration with Hidden Path Entertainment; these include 144 new achievements, a new domination and revenge system, similar to that of Team Fortress 2, player stats, an upgrade to the Source engine and more. On June 23, 2010, Valve released the beta to the public alongside the promised OS X version. On February 5, 2013, Valve released a port of Counter-Strike: Source for Linux. Counter-Strike: Source was met with positive reviews from professional critics. Metacritic, a review aggregator website, awarded Source a rating of 88 out of a possible 100 based on 9 critic's reviews. However, Source received some criticism by the competitive community, who believed that the game's skill ceiling was lower than that of Counter-Strike 1.6. On August 12, 2011, Valve announced the production of a successor to Counter-Strike: Source, entitled Counter-Strike: Global Offensive.
The game, developed by Valve and Hidden Path Entertainment, was released on August 21, 2012 for Windows, OS X, Xbox 360, PlayStation 3. Counter-Strike: Malvinas is a multiplayer first-person shooter modification of Counter-Strike: Source and distributed by Argentine web hosting company Dattatec; the mod utilises the Source game engine. The game is set in Stanley, the capital of the Falkland Islands, revolves around a group of Argentine special forces capturing the archipelago from British "terrorists"; the objective of the game is similar to that of the Counter-Strike series. Counter-Strike: Malvinas pays homage to the 1982 Falklands War, in which an estimated 650 Argentine and 255 British servicemen died; the mod prompted strong controversy in the United Kingdom.
Campus SuperStar is a Singaporean reality television singing competition to find new singing talent, contested by aspiring singers drawn from public auditions. The show began on 2 January 2006 and is broadcast on MediaCorp Channel U, it is a spin-off of Project SuperStar, contestants comprise students from secondary schools, junior colleges and institutes of technical education. The concept of the series is to find aspiring singers studying in secondary schools, junior colleges and institutes of technical education and put them together to compete for the Campus SuperStar title where the winner is determined by the judges and viewers. Winners chosen by judges through judges' score and viewers through telephone, SMS text voting were Ng Chee Yang, Shawn Tok, Jarod Lee and Bonnie Loo. Winners receive a two-year management contract with a cash prize. Season 4 winner receives an opportunity to perform with Mandopop singer Della Ding Dang in Glass Anatomy the Musical; the series employs a panel of judges.
The original judges were radio personality Foong Wai See, music producer and composer Li Feihui, singer–actor Cavin Soh and vocal coach Peter Tan. The current season's judging panel consists of singer Jim Lim, lyricist Xiaohan and radio personality Dennis Chew. MediaCorp hosts Pornsak and Lee Teng are the emcee of the show. Campus SuperStar is a spin-off, created based on another Singaporean reality television singing competition Project SuperStar, in turn inspired by British show Pop Idol. Using the idea from Pop Idol and Project SuperStar, the competition aims to uncover singing talents from full-time students studying in local secondary schools, junior colleges and institutes of technical education; the show debuted in January 2006, about four months after the finale of Project SuperStar season one. It was a big success with the viewing public among the youths and students in Singapore. Following the success of season one, the show returned about one year after live final of season one in May 2007 for the second season.
The show returned about one and a half years after the live final of season two in January 2008 for the third season. Both seasons achieved moderate reception from the viewing public. In 2009, after the live final was held for season three of Campus SuperStar, it was reported by Singapore-based Chinese language newspaper Lianhe Zaobao that MediaCorp Channel U will cease broadcasting of reality television singing competitions, including Campus SuperStar and Project SuperStar, slated for a third installment in 2010, but was axed last minute by MediaCorp. Though the report was made, Campus SuperStar returned to MediaCorp Channel U after four years of hiatus in January 2013 for the fourth season; the original judging panel was Li Feihui, Cavin Soh and Peter Tan. Foong Wai See, Cavin Soh and Peter Tan left the judging panel after judging one season, they were replaced by two new judges, namely Jim Lim and Jimmy Ye, who joined Li Feihui in season two. Jimmy Ye stayed for just one season and left the show before season 3.
Singaporean lyricist Xiaohan and singer Ken Tay joined the judging panel in season three. Li Feihui and Ken Tay did not return as a judge in season four and they were replaced by Dennis Chew. Guest judges may be introduced in the live finals when the judging panel lineup was increased. Music producer and composer Lee Wei Song was employed as a guest judge for all seasons in the live final. Other guest judges that were instated during the live finals are Lee Shih Shiong in season one, Billy Koh in season two, Kelvin Tan, Maggie Theng and Wu Jia Ming in season three, Li Feihui Eric Moo in season four. Guest judges were used in the revival rounds for season three, Dawn Yip joined the judging panel in the first revival round, while Cavin Soh and Maggie Theng joined the second. Season 1 of the show was hosted by Hong Junyang and Sugianto. Hong Junyang and Sugianto left the show after season one and they were replaced by Pornsak for season 2. Dasmond Koh and Fiona Xie did not return to host season 3 and were replaced by Felicia Chin and Lee Teng.
Yuan Shuai was employed as the online correspondent in season 3. Lee Teng and Pornsak returned in season 4 to host the show while Felicia Chin and Yuan Shuai did not return. Guest hosts may be introduced in the live finals when the number of hosts was increased. Ng Hui and Ben Yeo were instated as the guest hosts during the live final in season one. Fiona Xie hosted the auditions episode in season two. Fiona Xie hosted the season two live final, was joined by Ben Yeo, Lee Teng and Charlyn Lim. Ben Yeo returned as a guest host for the live final in season four. In the first two seasons, the competition was identical to Project SuperStar and was split into two categories: male and female. Starting season 3, the categories were removed and finalists were selected without equal gender representation. There are four/five stages to the competition: Stage 1: Online auditions Stage 2: 1st Judges' auditions Stage 3: 2nd Judges' auditions Stage 4: Final Judges' auditions Stage 5: Live shows In seasons 1 to 2, a round of first auditions is held in front of a panel of judges in the public with a live audience.
Shortlisted auditionees from the first auditions would be invited to attend the second round of closed-door auditions held in Mediacorp. Successful auditionees from the second round of auditions were put through
Club Sportif Sfaxien or CSS is a multi-sport club from Sfax in Tunisia. The club was founded in 1928 as Club Tunisien, playing in red stripes; the team was promoted to the Tunisian First Division in 1947. In 1950, the first supporters group was founded by Béchir Fendri, in 1962 the club was renamed " Club Sportif Sfaxien " and team colours were changed to the current black and white stripes. CSS celebrated their half-centenary in 1978 by winning the Tunisian League title thanks to the impressive performances of their Tunisian internationals, notably Hamadi Agrebi, Mohamed Ali Akid and Mokhtar Dhouib. In November 1998, CSS captured the CAF Cup for the first time, beating Senegal's ASC Jeanne d'Arc in the final. In more recent times, CSS reached the final of the CAF Champions League 2006 but were narrowly beaten in dramatic fashion, with a late second leg goal condemning them to a 2–1 aggregate defeat against Al Ahly of Egypt. In September 2014, CSS reached the semi-finals of the CAF Champions League 2014 but they were beaten with a 2-1 score in both away and home matches against AS Vita Club.
In May 2015, CSS got disqualified from The CAF Champions League 2015 afer a loss with 1-0 in their away match against Mouloudia Chabab El Eulma and CSS won their match in Sfax with 1-0 at the Stade Taïeb Mhiri but they got disqualified since they lost by penalties. CSS won the 2007 CAF Confederation Cup. A 4–2 first leg victory in Sudan against Al Merreikh preceded a 1–0 second leg win, with CSS lifting the trophy in front of their own fans at the Stade Taïeb Mhiri. In November 2008, CSS faced local rivals Etoile du Sahel in the final of the CAF Confederation Cup. CSS became the most successful club in recent history of the tournament when a 0–0 draw in Sfax was followed by a 2–2 draw in Sousse, sending the cup back to Sfax for the second year in a row. In 2013, CSS won CAF Confederation Cup for the 3rd time in their history facing TP Mazembe in The final with 2-0 in Rades a 2-1 defeat in Lubumbashi with a late goal from Fakhreddine Ben Youssef. Club Sportif Sfaxien is considered by the IFFHS as one of the five best teams in this century.
Club Sfaxien participated in the 2017 CAF Confederation Cup. As of 15 September 2018. Note: Flags indicate national team as defined under FIFA eligibility rules. Players may hold more than one non-FIFA nationality. Note: Flags indicate national team as defined under FIFA eligibility rules. Players may hold more than one non-FIFA nationality. Tunisian League: 81969, 1971, 1978, 1981, 1983, 1995, 2005, 2013Tunisian Cup: 41971, 1995, 2004, 2009Tunisian League Cup: 12003 CAF Champions League: 0Runner-up: 2006CAF Confederation Cup: 41998, 2007, 2008, 2013 Runner-up: 2010CAF Super Cup: 0Runner-up: 2008, 2009, 2014North African Cup Winners Cup: 12009 – WinnerMaghreb Champions Cup: 0Runner-up: 1970, 1971Arab Champions League: 22000, 2004 Runner-up: 2005Abha International Tournament: 11999 African Cup of Champions Clubs / CAF Champions League: 4 appearancesThe club have 2 appearances in African Cup of Champions Clubs in 1984 & 1996 and 2 appearances in CAF Champions League from 2006 till 2014 CAF Confederation Cup: 5 appearances CAF Super Cup: 3 appearances2008 – Runner-up 2009 – Runner-up 2014 – Runner-upCAF Cup: 1 appearance1998 – Winner CS Sfaxien CS Sfaxien Women's Volleyball CS Sfaxien Women's Basketball Official site
Pulse code cab signaling
Pulse code cab signaling is a form of cab signaling technology developed in the United States by the Union Switch and Signal corporation for the Pennsylvania Railroad in the 1920s. The 4-aspect system adopted by the PRR and its successor railroads has become the dominant railroad cab signaling system in North America with versions of the technology being adopted in Europe and rapid transit systems. In its home territory on former PRR successor Conrail owned lines and on railroads operating under the NORAC Rulebook it is known as Cab Signaling System or CSS. In 1922 the Interstate Commerce Commission issued a ruling requiring trains to be equipped with automatic train stop technology to operate at 80 mph or greater; the Pennsylvania Railroad decided to use this as an opportunity to implement a signaling technology that could improve both safety and operational efficiency by displaying a signal continuously in the locomotive cab. The task was assigned to Signal corporation, the PRR's preferred signal supplier.
The first test installation between Sunbury and Lewistown, PA in 1923 used the tracks as an inductive loop coupled to the locomotive’s receiver. The system had two 60 Hz signals; the break-sensing “track” signal was fed down one rail towards the oncoming train and crossed through its wheels, returning in the other rail. The pickup just ahead of the wheels would sum the approaching current from one side with the returning current on the other; the externally returned ”loop” signal was fed into and out of the mid tap of a resistor across each end of the track circuit. The pickup would sum the approaching current on each side as it carried on past to the far end of the track; this signal was shifted 90 degrees from the other. The signals were applied one or both continuously to give Approach or Clear aspects while no signal was a Restricting aspect; the test installation eliminated wayside block signals, trains relied on cab signals. For its next installation, on the Northern Central line between Baltimore, MD and Harrisburg, PA in 1926, the PRR tested another variation of cab signals which dropped the loop signal and switched to 100 Hz for the track signal.
The pivotal change was that now it would come on above Restricting as a carrier and 1.25 to 3 Hz on-off pulsing of it would be used as a code to convey the aspects. The presence of the carrier alone was not meaningful, no pulsing would still mean a Restricting aspect; this new system allowed four signal aspects: Restricting. The cab signaling system only acted as a form of automatic train stop where the engineer would have to acknowledge any drop in the cab signal to a more restrictive aspect to prevent the brakes from automatically applying. Passenger engines were upgraded with speed control which enforced the rulebook speed associated with each cab signal. Over time the PRR installed cab signals over much of its eastern system from Pittsburgh to Philadelphia, New York to Washington; this system was inherited by Conrail and Amtrak and various commuter agencies running on former PRR territory such as SEPTA and New Jersey Transit. Because all trains running in cab signal territory had to be equipped with cab signals, most locomotives of the aforementioned roads were equipped with cab signal equipment.
Due to the effect of interoperability lock in, the 4-aspect PRR cab signal system has become a de facto standard and all new cab signaling installations have been of this type or a compatible type. Pulse code cab signals work by sending metered pulses along an existing AC track circuit operating at some chosen carrier frequency; the pulses are detected via induction by a sensor hanging a few inches above the rail before the leading set of wheels. The codes are measured in pulses per minute and for the 4-aspect PRR system are set at 180 ppm for Clear, 120 ppm for Approach Medium, 75 ppm for Approach and 0 for Restricting; the pulse rates are chosen to avoid any one rate being a multiple of another leading to reflected harmonics causing false indications. The system is failsafe in; the codes would be transmitted to the train from the block limit in front of it. This way if the rail was broken or another train entered the block, any codes would not reach the onrushing train and the cab signal would again display Restricting.
Trains with an insufficient number of axles will not short out all of the cab signal current so that following trains might receive an incorrect aspect. Trains of this type must be given absolute block protection to the rear. Where DC and 25 Hz AC electrification co-exist, the standard 100 Hz frequency is changed to 91⅔ Hz; this avoids harmonics created by the return rail's DC traction current offsetting the AC return sine wave in the same rail. 70 years after pulse code cab signals had been introduced, the 4 speed design was found to be insufficient for speeds not envisioned when the system was designed. The two most pressing problems were the use of high speed turnouts, which allowed trains to take a diverging route faster than the normal 30 or 45 mph covered by the existing cab signals; the introduction of Amtrak's Acela Express service with its 135 mph to 150 mph maximum speeds would exceed the capabilities of the legacy signaling system and its 125 mph design speed. To address the problem and avoid a complete rebuild of the signaling system, impair lower speed service, break backwards compatibility with existing cab signals or place too high a reliance on the human operator, an overlay pulse code system was devised for use on Amtrak's Northeast Corridor.
Chessington South railway station
Chessington South railway station is in the Royal Borough of Kingston upon Thames in Greater London, is the terminus of the Chessington Branch Line. It is served by South Western Railway, is 13 miles 73 chains down the line from London Waterloo, in Travelcard Zone 6, it is the nearest train station to Chessington World of Adventures. The station was built by the architect James Robb Scott in 1939 as a through station on the line being built to Leatherhead. Construction of the line stopped, never to be resumed, on the outbreak of World War II and the up platform was never used for passenger trains, although the track was used for stabling out of service trains during off-peak times. There was a goods yard beyond the passenger station. After the continuation to Leatherhead was abandoned, part was used from the mid-1960s to the end of the 1980s for a coal concentration depot. Today the line south of the station and the sidings to the coal depot are buried under trees; the ticket office is at rail level.
There is one automated ticket machine at surface level, a permit to travel machine adjacent to the ticket office. South Western Railway operates all services; the service interval is 30 minutes during off-peak hours. All trains run to or from London Waterloo; the journey to Waterloo takes 37 minutes. Services use Class 455 or 456 EMUs, although a Class 450 or Class 707 is used on occasion. London Buses routes 65, 71 and 467 serve the station. Train times and station information for Chessington South railway station from National Rail
Context-sensitive solutions is a theoretical and practical approach to transportation decision-making and design that takes into consideration the communities and lands through which streets and highways pass. The term is related to but distinguishable from context-sensitive design in that it asserts that all decisions in transportation planning, project development and maintenance should be responsive to the context in which these activities occur, not the design process. CSS seeks to balance the need to move vehicles efficiently and safely with other desirable outcomes, including historic preservation, environmental sustainability, the creation of vital public spaces. In transit projects, CSS refers to context sensitive planning and development around transit stations known as transit-oriented development. In contrast to long-standing practices in transportation design that place primary importance on moving traffic, the CSS process emphasizes that transportation facilities should fit their physical settings and preserve scenic, aesthetic and environmental resources, while maintaining safety and mobility.
For instance, if a state highway that passes through a downtown main street, applying CSS principles would entail creating a street where the movement of vehicles does not impede pedestrian activity and sidewalk commerce, rather than a street, widened and straightened to increase speed and mobility for vehicles as a singular transportation objective. CSS therefore includes principles for context-sensitive decision-making that place a high value on community input and consensus, more technical principles of context sensitive design; when CSS principles are applied to transportation projects, the process involves a much broader range of disciplines than traditional transportation design methods, which rely on the judgment of traffic engineers. CSS is a collaborative, interdisciplinary approach that involves everyone with a significant stake in the project, such as the residents and local institutions that will be affected by an intervention or a failure to address the transportation implications of development such as congestion.
Rather than approaching these stakeholders at the tail end of the design process in an attempt to gain approval, CSS emphasizes the need to incorporate their feedback from the outset of the planning and design development processes and during all subsequent stages of construction and maintenance. The following list of qualities describe the core goals of the CSS process; the CSS Product: Qualities of Excellence in Transportation DesignThe "Qualities that Characterize Excellence in Transportation Design" – that is, of the physical end product of the CSS process – are: The project satisfies the purpose and needs as agreed to by a full range of stakeholders. This agreement is forged in the earliest phase of the project and amended as warranted as the project develops; the project is a safe facility for the community. The project is in harmony with the community, it preserves environmental, aesthetic and natural resource values of the area, i.e. exhibits context sensitive design. The project exceeds the expectations of both designers and stakeholders and achieves a level of excellence in people's minds.
The project involves effective use of the resources of all involved parties. The project is built with minimal disruption to the community; the project is seen as having added lasting value to the community. This outline of the core steps in the CSS process was developed at the "Thinking Beyond the Pavement" conference; the CSS Process: Characteristics of the Process That Yield Excellence"The Characteristics of the Process that will Yield Excellence in Transportation Design" are: Communication with all stakeholders is open, honest and continuous. A multidisciplinary team is established early, with disciplines based on the needs of the specific project, with the inclusion of the public. A full range of stakeholders is involved with transportation officials in the scoping phase; the purposes of the project are defined, consensus on the scope is forged before proceeding. The highway development process is tailored to meet the circumstances; this process should examine multiple alternatives that will result in a consensus of approach methods.
A commitment to the process from top agency officials and local leaders is secured. The public involvement process, which includes informal meetings, is tailored to the project; the landscape, the community, valued resources are understood before engineering design is started. A full range of tools for communication about project alternatives is used; the initial guiding principles of CSS came out of the 1998 "Thinking Beyond the Pavement" conference as a means to describe and foster transportation projects that preserve and enhance the natural and built environments along with economic and social assets for neighborhoods they pass through. In 2003, the Federal Highway Administration announced that under one of its three Vital Few Objectives they had a target goal of achieving CSS integration within all state Departments of Transportation by September 2007; the American Association of State Highway and Transportation Organizations is now developing strategic goals and objectives for CSS which it describes as a "fundamental change in the way we do business
CSS is a Brazilian rock band from São Paulo. The band was labeled as part of the explosion of the new rave scene, their songs are in both Portuguese. CSS formed in September 2003, their name was taken from a reported quote by Beyoncé, who declared that she was "tired of being sexy". The band first garnered fame through the internet; some of its members, like Adriano Cintra, Wendi Bishop, had been known in São Paulo's underground club scene, but not outside of the local alternative subculture. Others, like Lovefoxxx, were the owners of popular Flickr pages, their collective band fotolog gained popularity and their songs were downloaded from Trama Virtual's website. Several songs by CSS were featured in mainstream media, for example "Meeting Paris Hilton" was featured in the Latin American broadcasting of The Simple Life, "Superafim" was used in the Brazilian version of Big Brother. Still unsigned, they released two independent EPs—Em Rotterdam Já É uma Febre in 2004, A Onda Mortal / Uma Tarde com PJ in January 2005—and played at the TIM Festival in 2004.
In 2005, they signed with the Trama Virtual label, in October their first album, Cansei de Ser Sexy, was released in Brazil, along with the seven-track EP CSS Suxxx, sold at concerts. A limited edition version of the album had a blank CD-R included, so the buyer could burn a copy of the album to give away as a gift. In Brazil, the album has sold 5,000 copies to date, but neither the album nor the singles have charted. Two music videos were released, "Off the Hook" and "Alala", their two big hits, were directed by guitar player Ana Rezende, filmed at the home of band members Carolina Parra and Cintra, where CSS recorded most of their songs. In early 2006, CSS signed with Sub Pop to release their international debut album, Cansei de Ser Sexy; the first single was "Let's Make Love and Listen to Death From Above", released on June 6, with an accompanying video directed by Cat Solen. In July 2006, along with DJ Diplo and funk group Bonde do Rolê, they began their first international tour. By 2007, CSS had sold as many as 60,000 copies in the United States.
They played at various festivals across Europe in the summer of 2007. The band were scheduled to play at the American festival Lollapalooza on August 4, 2007, but were left stranded at LaGuardia Airport en route to Chicago after an overbooking error, they did arrive in time for their performance at Virgin Festival in Baltimore the next day. CSS came to wider attention when their song "Music Is My Hot Hot Sex" was used in a worldwide television commercial by Apple Inc. for the iPod. Due to the song's exposure in the United States, it charted at number 63 on the Billboard Hot 100, becoming the highest-charting single in the United States by a Brazilian band to date. Coincidentally, the same song had been used in a promotion for the competing Zune media player a year prior. Several of CSS's songs feature on the soundtracks of video games, their singles "Alala" and "Off the Hook" were featured in the video game Forza Motorsport 2. The video game FIFA 08 features "Off the Hook". In April 2008, Iracema Trevisan left the band.
The band subsequently worked with Jon Harper of the Cooper Temple Clause. "Rat Is Dead", the first single to be taken from their second album, was made available as a free download from the CSS website in April 2008. The album, was released on July 21, 2008, with first single proper, "Left Behind", having been released earlier in the month, their song "Jager Yoga" features in the soundtrack of video game FIFA 09, "Rat Is Dead" appears in the video game Midnight Club: Los Angeles. CSS recorded tracks for La Liberación, while touring, they recorded a song in Spanish titled "¡Ay, Qué Horror!"In an interview with MTV Brasil, lead singer Lovefoxxx stated that the first single of the new album would be released in May 2011. The album according to her, would be released in August 2011, with eleven tracks; the title would be in Spanish. In an April 2011 interview with Folha de S. Paulo, Adriano Cintra said, it has influences from clubs and punk." Ana Rezende, said that "we sometimes do a reggae that nobody thinks it's reggae.
But in our head is reggae." The single "Hits Me Like a Rock" from the band's third album featured on the soundtrack of the video game FIFA 12. On November 11, 2011, Adriano Cintra announced that he had left CSS and declared that he did not authorize any of the band members to use his songs in any of their forthcoming concerts, he stated that the reason behind his departure was due to attitude problems from other band members, claiming that they had let fame go to their heads. It was reported that the band members' musical incompetence was a factor. In an interview with Rolling Stone Brazil, Cintra said that his bandmates' unwillingness and inability to collaborate on the recording of the band's third album led him to leave the band, a decision which the band's manager was able to revert by asking him to stay. During the European tour Cintra was diagnosed with a repetitive strain injury in his hand, which made him unable to continue with the tour; as over half of the band's songs include backing tracks of Cintra playing, he expected to get paid for their use, agreed by the band's manager.
In spite of this agreement, on the eve of the payday Cintra received an email from the band's manager informing him that