Our after school empowerment program organizes soccer activities with a passion to train, educate and inspire our student athletes in a positive and supportive environment. We strive to create a community where kids are not only honing their soccer skills but they're also developing the leadership, focus, and discipline it takes to become successful people.
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EXPLORE EMPOWER CHARTER SCHOOL OF BROOKLYN.
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Through soccer we are able to get our message across and keep our youth in an environment that is filled with respect, fun, and teamwork.


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The House Garden is an Important Part of the House and Its Grounds
By admin Last updated Sep 6, 2022
The house garden is an important part of the house and its grounds. The garden was designed by Jean Kane Foulke DuPont during the 1930s and featured a sundial with a hand-etched arrow on the brick wall. The arrow points south and casts a shadow on a gnomon, a vertical piece that casts a shadow on a sundial.
Hollister House
The Hollister Homestead in Washington, Connecticut, was built in about 1770 and is a prime example of Georgian architecture in the area. In 1979, the house and garden were opened to the public. The historic house is now a popular tourist attraction, and the gardens delight garden lovers.
The gardens are designed to inspire new gardeners and educate the more experienced. The Hollister House garden is planning to hold Barn Talks to help new gardeners learn new gardening techniques. Attending these talks requires reservations and protective masks. The speakers will include Daryl Beyers, the program coordinator at the New York Botanical Garden and author of "The New Gardener's Handbook."
The Hollister House garden is set on a 25-acre property in Litchfield County, Connecticut. It is part of the Preservation Project of the Garden Conservancy and is only open to the public during select hours on weekends. Groups can also visit by appointment. It is a popular destination for weddings and other special occasions.
The Hollister House garden is one of the boldest responses to the traditional English garden. The garden combines formal structures with more naturalistic planting in beautiful wooded countryside. Unlike most English gardens, the Hollister House garden is open to the public and has been the focus of many garden study weekends. It also hosts three-day symposia and distinguished speakers.
Amstel House
Gillette's designs for the Amstel House garden were never implemented and are not fully installed today. These plans were never finished because of light, plant hardiness, and cost problems. Today, the gardens are more open than Gillette originally designed. However, Gillette's plans are still a good place to start if you plan a garden in the historic district.
The garden at the Amstel House was designed in the 1930s by Charles Gillette, a renowned landscape architect in Virginia. The restoration process sought to restore Gillette's original Colonial Revival design and incorporate more modern and low-maintenance plants. The Trustees of New Castle Common funded the rehabilitation.
The Amstel House is an early Georgian mansion built in the 1730s. It is widely considered the first grand mansion in Delaware. The house was listed on the National Register of Historic Places in 1931. It is open for tours Wednesday through Saturday from 11 a.m. to 4 p.m. and occasionally holds special events.
The Amstel House and Dutch House are open to the public. The Old Library, which will open in May of 2022, is also open. The gardens are open from dawn to dusk. The house was once owned by prominent New Castle citizens, such as Dr John Finney, who had an office in the house. The building has extensive panelling, although some were removed during the nineteenth century. In 1929, the Amstel House was purchased by the New Castle Historical Society for use as a museum.
Fab Tree Hab
The Fab Tree Hab is a concept of an ecological house that allows plants to grow on a wooden scaffold, which is easily removable and reused. It is based on pleaching, an ancient gardening form involving weaving tree branches together. Despite its simplicity, the Fab Tree Hab offers many environmental benefits.
Its unique design inspires the insurgent writings of Thoreau and Emerson, which encourage an eco-centric view of our future. The structure uses 100% living plants and feeds on the ecosystem. This design overturns conventional home notions and demonstrates the symbiotic relationship between humans and nature.
Besides being a sustainable construction, the Fab Tree Hab also aims to preserve and preserve their ecosystems for future generations. It also contributes to the growing knowledge about sustainable architecture and urban design. While this design approach is still relatively new, it has received much positive attention.
The Fab Tree Hab is one of the many design projects nominated for the Index awards. This world-renowned design event will be held in Copenhagen beginning on September 23. It is the first year of its kind and will be held every four years. This award program celebrates innovative designs that improve life.
Gillette's designs
William Gillette's passion for the land and his love of plants led him to study the art of landscape architecture. Though not trained as an architect, he read extensively and compiled an impressive library of historic garden books. He came to Richmond in 1913 and started his landscaping firm. He spent the next 56 years designing public and private spaces throughout the upper South.
In addition to designing house gardens, Gillette was also known for re-designing the gardens of the Virginia Executive Mansion. The gardens were redesigned after Governor Thomas B. Stanley asked him. He also designed the grounds of the Reynolds Metals Company and the Ethyl Corporation in Richmond. Moreover, he had completed hundreds of residential projects in Virginia and North Carolina.
His private gardens designs have been among the twentieth century's best landscape designs. They are known for their park-like layouts inspired by European country houses. Many of them have won national awards. In 1938, Gillette was honoured with the New York Architectural League's highest honor for a private garden.
The Library of Virginia is a good place to start a Gillette study. A collection of 15 to 20 pieces will be shown in the "Matters of Scale" exhibition at its central branch in Petersburg. Gillette's collection of architectural renderings will be on display as well as client correspondence. A restored Gillette bench will also be on display in the exhibition.
Plants used in house gardens
House plants can be grown in a variety of conditions. Some are adapted to live in temperate climates, while others need a colder environment to thrive. To choose the right houseplants for your home, you should be aware of its climatic conditions and soil type.
A variety of succulents are commonly used in house gardens. Those with low water needs are easy to grow. Some succulents are tropical, which means they prefer the warmest temperatures. But if you'd like a more temperate climate, consider coleus. It can tolerate temperatures as low as 55 degrees Fahrenheit. For optimal plant health, keep the soil moist and fertilize the plant monthly.
House plants are a versatile way to add interest to a room. They also help improve the air quality in the home. They come in various varieties, from large-leaved jungle plants to tiny succulents. Some of them can tolerate dry conditions, while others thrive in humid environments. Research has shown that indoor plants can improve your mental health and the air quality in your home. Some house plants even absorb pollutants from other household items.
The history of indoor gardening goes back to the ancient Greeks and Romans. The Chinese, Egyptians, and Sumerians used pots to grow plants both outdoors and indoors. In Japan, people grew miniature versions of plants as room decorations. Until the 17th century, growing houseplants was not much discussed. However, Sir Hugh Platt, an English agricultural authority, was the first to recommend growing plants indoors.
Famous house gardens in the U.S.
Despite being over 300 years old, portions of this world-renowned garden remain the same as when Pierre S. du Pont first designed the gardens. The garden consists of over 1,000 acres of outdoor gardens and features centuries-old trees, an Italian Water Garden, and a historic four-acre conservatory. The gardens have become a centre for scientific research and attract over three-quarters of a million visitors annually.
These public gardens are much different from the small backyard gardens most of us have in our backyards. While private gardens often feature flowers and shrubs that reflect the owner's personality, public gardens draw inspiration from landscape planning and design. Historically, these gardens were designed to showcase wealth and power, with wealthy estate owners utilizing the gardens as entertainment spaces for their guests. Today, however, these public gardens are designed to inspire gardeners and visitors alike.
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Home > Artists > Beatrix Potter
Born: July 28, 1866 | Died: December 22, 1943
Helen Beatrix Potter was born on July 28, 1866 to Rupert and Helen Potter in Kensington, London. Beatrix's parents were bourgeois Victorians who lived on inheritances from their families' cotton trade during the industrial era. Rupert was a qualified barrister, though rather than practice law, he spent his time focusing on his passion for art and photography. An embroiderer and watercolorist, Helen joined him in an active social life, filled with writers, artists, and politicians, among them Sir John Everett Millais. From a young age, Beatrix and her brother Bertram Potter (born in 1872), showed promise as artists, constantly sketching animals from their classroom menagerie. Taught by governesses, including Annie Moore (who remained a close friend of Beatrix), in their home classroom, the children kept a multitude of pets for study, even smuggling in hedgehogs, mice, and frogs from the garden. This love of animals continued to grow as the Potters traveled north every summer, first to Perthshire in Scotland, and later to the Lake District in Cumbria, England. The Lake District, in particular, became an integral part of Beatrix's life, and she later drew great inspiration from the area for her art. During their summers in the north, Beatrix spent time observing and sketching plants, animals, and insects with a detailed eye. Though she did sit her Second Grade Art Student certificate at the National Art Training School in South Kensington, her education was largely neglected, as was common with Victorian women. Instead, Beatrix copied from books and drawing manuals and studied the works of John Constable, Thomas Gainsborough, and J.M.W. Turner. Ultimately, Beatrix was grateful that she was primarily self-taught, because she said had she been formally educated "it would have rubbed off some of the originality."1
As Beatrix grew older, she became a talented naturalist. With Bertram sent away to school, she spent her time alone learning to drawing with her eye to a microscope, and eventually developed an interest in fungi. Invited to study fungi by the Royal Botanical Gardens in Kew, she produced hundreds of detailed botanical drawings and investigated fungi's cultivation and growth. Charles Macintosh, a Scottish naturalist she knew from her summers in Perthshire, encouraged her to work towards making her drawings more technically accurate. This prompted Beatrix to begin using watercolors in her drawings, which eventually led to her becoming an adept scientific illustrator. Though she continued her research on fungi until the late 1890s, a paper she wrote entitled "On the Germination of the Spores of Agaricineae" (gilled fungi) was rejected by The Linnean Society (the world's oldest extant biological society) when it was presented in 1897 on her behalf by the Assistant Director of the Royal Botanical Gardens at Kew. Whether due to her research and theories, or to her being a woman, this rejection most likely contributed to Beatrix's decision to devote her time solely to drawing and painting, which had already begun to earn her a modest income.
Beatrix's illustration career started from humble beginnings, with drawings of some of her favorite stories. She illustrated her own versions of Alice's Adventures in Wonderland and Cinderella, and as always, avidly drew from nature. These works led to her first publishing opportunity with Hildesheimer & Faulkner in 1890, when her art was utilized for greeting card designs and book illustrations. A series of frog illustrations and contributions to Changing Pictures, an annual with art publisher Ernest Nister, soon followed which bolstered Beatrix's ambition to publish her own illustrated stories.
In September 1893, Beatrix wrote an illustrated letter to her former governess, Annie Moore's son, Noël about a rabbit named Peter. Beatrix had gathered a great deal of inspiration from her two pet rabbits, the first being Benjamin Bouncer, and the second, Peter Piper. This letter written to Noël told the story of Peter Rabbit and his family, as well as his misadventure in Mr. McGregor's garden. Years later in 1900, Beatrix asked to borrow the letter from Noël so that she could copy the illustrations for her first published work, The Tale of Peter Rabbit. In 1901, after being rejected by six publishers, Beatrix decided to publish Peter Rabbit on her own. She printed an initial run of 250 copies in December and gave them to friends and family. Her book was instantly successful, and a copy made its way back to Frederick Warne & Co., prompting them to reconsider their decision and offer to publish her work. Norman, the youngest of the Warne brothers, took over Beatrix's account, his only stipulation being that Beatrix re-illustrate Peter Rabbit in color before they publish the story. When the book was released to the public in October 1902 it was an instant bestseller, and Frederick Warne & Co. had to produce six editions within the year in order to meet demand.
After Beatrix's initial success with Peter Rabbit, she went on to publish many more stories with Frederick Warne & Co. In 1903, The Tale of Squirrel Nutkin and The Tailor of Gloucester were published and, with continued ambition, she designed and sewed the first Peter Rabbit doll for Norman Warne's niece. Realizing the opportunity for merchandising, Beatrix immediately registered her designs at the patent office, making Peter Rabbit the world's oldest licensed literary character. Two years later, in 1905, Norman Warne sent Beatrix a proposal of marriage, which her parents met with severe opposition. Despite her parents chagrin at Norman's occupation "in trade," Beatrix accepted his proposal, only to experience the devastation of his death from leukemia less than a month later. Beatrix dealt with her loss by taking solace in the Lake District, one of her favorite places since childhood. She purchased Hill Top Farm in Sawrey less than a year after Norman's death, and began learning how to run a farm.
Though Beatrix was unable to live at Hill Top Farm full time, because as a widowed Victorian woman she was expected to take care of her aging parents in London, she did continue to invest in the Lake District and make it her permanent home. She continued to write and produce one or two "little books" a year for the next eight years, but progressively spent more time working on her farm. As time passed she purchased more land in the Lake District, eventually meeting William Heelis, a local solicitor in 1909 when she was purchasing property next to Hill Top Farm. After four years of courting, William Heelis and Beatrix Potter were married in 1913, again, despite the objections of her parents. Beatrix was able to settle in the Lake District full time after she and Heelis married, which meant that she could devote more time to her farming, eventually becoming an expert breeder in Herdwicks, an indigenous Cumbrian sheep. Her devotion to farming paired with failing eyesight meant that Beatrix spent less time creating new artwork. By 1920 her eyesight had become so deteriorated that Beatrix was forced to re-work old sketches and drawings into her new books. This practice took a great deal of time, and combined with her duties on the farm, resulted in her publishing only two more books before her death. Beatrix's last major work, The Tale of Little Pig Robinson, was published in 1930 and she died in 1943. Throughout her career, Beatrix Potter wrote and illustrated twenty-eight books that have since been translated into more than thirty-five languages. Since the original publication of The Tales of Peter Rabbit in 1902, over 100 million copies of her stories have been sold. Beatrix had acquired fourteen farms and over 4,000 acres of farmland in the Lake District during the later years of her life which she bequeathed to the National Trust, a conservation organization in the United Kingdom. Hill Top Farm has since become a museum, which, according to her wishes, was left exactly as it had been when she lived there.
1. Susan E. Meyer, A Treasury of the Great Children's Book Illustrators (New York: Harry N. Abrams, 1987), 128.
Corryn Kosik, Walt Reed Distinguished Scholar, March 2018
Visit artist's website
Illustrations by Beatrix Potter
Public Domainhttps://www.illustrationhistory.org/illustrations/there-were-crowds-in-the-streets-as-it-was-market-day
Public Domainhttps://www.illustrationhistory.org/illustrations/rafting-to-the-island
Public Domainhttps://www.illustrationhistory.org/illustrations/the-mice-listen-to-the-tailors-lament
Public Domainhttps://www.illustrationhistory.org/illustrations/first-he-ate-some-lettuces
Public Domainhttps://www.illustrationhistory.org/illustrations/study-of-orange-fungi-aleuria-aurantia-growing-amongst-fallen-leaves
Bland, David. A History of Book Illustration: The Illuminated Manuscript and the Printed Book. Cleveland, OH: The World Publishing Company, 1958.
Dalby, Richard. The Golden Age of Children's Book Illustration. London: Michael O'Mara, 1991.
Doyle, Susan, Jaleen Grove, and Whitney Sherman. History of Illustration. New York: Bloomsbury, 2018.
Meyer, Susan E. A Treasury of the Great Children's Book Illustrators. New York: Harry N. Abrams, 1987.
Zach, Emily. The Art of Beatrix Potter: Sketches, Paintings, and Illustrations. San Francisco, CA: Chronicle, 2016.
Randolph Caldecott
H. R. Millar
E.H. Shepard
Sir John Tenniel


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Abe Sun
Abe is a principal in our Singapore office. His main areas of practice include patents, trade secrets, copyright, and transactional IP for international and domestic clients. With over eleven years of legal experience as a lawyer and over ten years of technical experience as an engineer in the US and Canada, Abe is able to provide commercially oriented legal and technology-specific advice on a wide range of IP issues. Before joining our Singapore office in 2016, Abe was a lawyer in our Baker McKenzie offices in the US (where he passed the US patent bar examination and qualified as a US Registered Patent Attorney (limited recognition)) and Thailand.
Singapore: Government proposes full SMS Sender ID registration to enhance protection against scams
October 25, 2022 by Andy Leck, Ren Jun Lim, Ken Chia, Abe Sun and Alex Toh 3 Mins Read
As part of an ongoing approach to combat scams, the Infocomm Media Development Authority (IMDA) has proposed new measures to reduce the ability of scammers to spoof their identity by using the same alphanumeric sender identification ("SMS Sender ID") used by bona fide businesses. To further enhance consumer protection, the IMDA intends to make Singapore SMS Sender ID Registry (SSIR) registration mandatory for organisations who wish to use SMS Sender IDs.
Organisations using SMS Sender IDs must register with the SSIR using their Unique Entity Number (UEN) and aggregators handling SMS with Sender IDs must also participate in the SSIR and verify organisations via their UENs.
In Data Privacy
Singapore: Reed, Michael v Bellingham, Alex (Attorney-General, intervener) [2022] SGCA 60
The Singapore Court of Appeal, in its recent decision of Reed, Michael v Bellingham, Alex (Attorney-General, intervener) [2022] SGCA 60, provides clarity on two provisions under the Personal Data Protection Act (PDPA). The first is section 4(1)(b), which states that the PDPA does not impose any obligation on any employee acting in the course of their employment with an organization. The second is the then section 32 (now section 48O), which allows individuals who suffer loss or damage as a result of an organization's contravention of the PDPA, the right to commence private action against the organization.
Singapore: PDPC publishes guide on personal data protection considerations for blockchain design
August 12, 2022 by Andy Leck, Ken Chia, Ren Jun Lim, Abe Sun and Alex Toh 2 Mins Read
In July 2022, the Singapore Personal Data Protection Commission published a guide to help organisations comply with the Personal Data Protection Act when deploying blockchain applications that process personal data. As such, this Guide provides a broad set of principles and considerations for organisations to design their blockchain applications to be PDPA-compliant, thus ensuring more accountable management of customers' personal data.
Singapore: Further details released on safety measures proposed for social media platforms
August 9, 2022 by Andy Leck, Ken Chia, Ren Jun Lim, Abe Sun and Alex Toh 4 Mins Read
The Ministry of Communications and Information has released, in its Public Consultation published on 13 July 2022, more information on two proposed complementary codes to protect Singapore-based users against harmful and high-risk online content.
Social media platforms with significant reach or impact that are designated social media services will be in-scope for the new compliance obligations proposed by the MCI under the Code of Practice for Online Safety and all social media services are intended to be subject to the Content Code for Social Media Services.
Singapore: PDPC publishes guide on responsible use of biometric data in security applications
July 18, 2022 by Andy Leck, Ken Chia, Ren Jun Lim, Abe Sun and Alex Toh 7 Mins Read
In May 2022, the Singapore Personal Data Protection Commission published a guide to help organisations collect, use or disclose individuals' biometric data in a responsible manner. With security applications like security cameras and Closed-Circuit Television Cameras becoming increasingly commonplace, there have been more cases of organisations mishandling individuals' biometric data. The release of this guide serves as a timely reminder for organisations to review their existing measures or implement new measures to ensure that they are dealing with individuals' biometric data in a responsible manner.
Singapore: Pilot call for application to build "green" data centres
April 10, 2022 by Andy Leck, Ken Chia, Lim Ren Jun, Arwen Berry and Abe Sun 3 Mins Read
The Infocomm Media Development Authority and the Economic Development Board will pilot a Call for Application to construct three new data centres, after lifting a moratorium on new data centre projects in place since 2019. In line with Singapore's climate change commitments, permits will only be granted for proposed data centres that meet a stringent set of energy efficiency criteria.
Singapore: Dubai International Financial Centre issues cross-border data transfer adequacy decision for Singapore
March 4, 2022 by Andy Leck, Lim Ren Jun, Abe Sun and Arwen Berry 2 Mins Read
On 4 February 2022, the Dubai International Financial Centre Office of the Commissioner of Data Protection announced that the commissioner issued an adequacy decision recognising, among others, Singapore's Personal Data Protection Act for safe data transfers from the DIFC. This is a welcome development as it facilitates cross-border personal data transfers from the DIFC to Singapore, which can in turn strengthen business ties between the two territories.
Singapore: UNESCO members adopt a global agreement on the ethics of artificial intelligence
January 17, 2022 by Andy Leck, Lim Ren Jun, Arwen Berry and Abe Sun 3 Mins Read
On 25 November 2021, the United Nations announced that all 193 member states of the United Nations Educational, Scientific and Cultural Organization, including Singapore, adopted a first-of-its-kind global agreement on the ethics of artificial intelligence. The agreement focuses on the broader ethical implications of AI systems in relation to education, science, culture, communication and information; and articulates common values and principles to assist in the creation of legal infrastructure for the healthy development of AI.
Singapore, United Kingdom: The UK-Singapore Digital Economy Agreement
On 9 December 2021, Singapore and the UK substantially concluded negotiations on the UK-Singapore Digital Economy Agreement (UKSDEA). The UKSDEA covers key areas of the digital economy, such as data, artificial intelligence, fintech, digital identities and legal technology.
In AML & Financial Services Regulatory
Singapore: Launch of two new national AI programmes for government and financial sectors
December 26, 2021 by Andy Leck, Lim Ren Jun, Arwen Berry and Abe Sun 2 Mins Read
On 8 November 2021, the Smart Nation and Digital Government Office (SNDGO) announced the launch of two national artificial intelligence (AI) programmes for the government and financial sectors.


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SNF 2019.02 - SNF: Blue Pro Belt Match
Description: The mysteries of the Blue Belt are revealed within the confines of the Academy of Magical Arts' signature clubhouse - in particular, the Pugillusionist's Paradise located in the back garden, set with classic brickwork and with no visible entrance on the surface, merely a towering structure of brick. (The entrance is through the club itself, you see_... there is a secret passage.) At the stroke of midnight, two mystics will contend with the depth and passion of their art - with the Belt itself as the bone of contention. But illusion and legerdemain will not be enough to win the belt - victory in the ring must be achieved!
[VELVET BLUE]
A secret entrance at the back of a club?! Well, Velvet Blue is no secret to such a thing, in fact he's actually kind of used to it--god knows how many of the older nightclubs had weird rooms backstage or in the service areas devoted to illegal gambling or even worse things. However this does mean he has no trouble navigating to it and through it--but just what kind of a funhouse is this supposed to be?
Under the tableau of midnight, the darkstalker performer arrives, blue spaded tail swaying behind them as they walked. Their boots made clacking noises, since well, kind of hard not to, given they were rather.. eccentric. The boots were stiletto heeled in a pearlescent indigo color with a kind of starry glitter-effect airbrushed into it, reaching well past the knees. A black spandex undersuit and a jacket matching the boots, left unzipped for now.
"What kind of Harry Potter shenanigans is this," Velvet muttered under his breath, reaching up to brush back long thick black hair and tilting their head this way and that. The large bat-like ears ought to be a clue in as to why, they were tilting to head to try and better locate the sources of sound around them.
Currently, Velvet was standing in what looked like a large indoor space, like a concert hall, with a dias with the belt sitting on it far off to the very center, seemingly no one else here...
[MENAT]
Seemingly nobody else here. The seeming is important.
Menat actually slipped in a while ago, in the late evening, but stayed nearly out of the way until much later. 'Later', in this case, meaning 'now'.
Menat appears out of nowhere with a violet flare that looks like nothing so much as a silent firework, floating above the dias. And in costume, too! She is wearing a pair of deep purple shorts, edged with gold trim, along with a matching-colour sarong-style wrap, along with a bandeau-style top with a long, extended stiff section pointed downward over her stomach. A shawl with hood rests on her shoulders, partially shading her face. Her crystal ball floats at her side, over her spread hand, lit with an inner blue-purple glow.
"Welcome," she says, sounding as imposing as she can as she points at Velvet Blue, "to your FATED BATTLE! I have seen it in the light of the crystal!"
Menat floats downward next to the dias, touching down lightly with a faint chime from her anklet bangles. She is, under her hood, grinning.
Velvet, in contrast, doesn't call what he's wearing a costume--this was a way of life. One couldn't deny Menat's hood had a certain theatricality about it, however.
"Oof, little cold in this place in that outfit?, hon?" Velvet walks toward her with a grin, the boots he wears clacking--the light glinting off the metal caps over their tips. Think Majima's fashionable leather metal tipped shoes, it's sort of like that.
"Welcome to you too, hon--you ready to get this on? I think we both know that belt will at least fit on /my/ hips," and just like that, the negging battle begins, at least the first shot is fired from Velvet's side.
"Lets see if those snowglobes of yours are more than just for show--" Velvet is already rushing towards her, claws out.
COMBATSYS: Velvet Blue has started a fight here on the right meter side.
> //////////////////////////////]
|-------\-------\0 Velvet Blue
COMBATSYS: Menat has joined the fight here on the left meter side.
Menat 0/-------/-======|-------\-------\0 Velvet Blue
COMBATSYS: Velvet Blue successfully hits Menat with Quick Strike.
[ \\\\\\\\\\\\\\\\\\\\\\\\\ < > //////////////////////////////]
Menat can both be a seer and a mystic (she is) and wear a costume (she definitely is). They're not mutually exclusive!
"Snow globe? Oh, come *on*," Menat says, sounding a lot less portentious than she did mere moments ago. "This is better than any snow globe. And I'm quite comfortable, thanks! Don't knock it just because you can't dance - whoa!"
The 'whoa' was because Velvet covered the distance a lot faster than Menat expected him to. He slams into her side, and she vanishes in a flash of light - but not until after he's managed to rake her with the claws. When she reappears about three seconds later, she isn't quite as intact as when she left.
Menat tosses the globe in Velvet Blue's direction. She accelerates it as it leaves her fingers with a flare of Soul Power, and when (if) it hits Velvet Blue it sticks to him.
That gets Menat to grin, and she raises both hands over her head, pressing them together. With a dangerous twitch of her hips, she sends the ball flying back toward her - and if Velvet Blue was struck solidly by it, he's dragged along with it like he was glued to it, pulled next to Menat by Soul Power!
COMBATSYS: Velvet Blue dodges Menat's Soul Vacuum.
[ \\\\\\\\\\\\\\\\\\\\\\\\ < > //////////////////////////////]
Menat 1/-------/=======|=------\-------\0 Velvet Blue
Velvet is fast. Very fast, and unfortunately for Menat, she can't seem to avoid sashaying those hips of hers /away/ from Velvet's claw-like nails, catching a rake down her side.
"Jeez--I didn't even swing that hard, I think I felt bone, too," Velvet retreats back to flick the blood from his dark nails. "You gotta eat somethin' girl! Get some cushion," as much as Velvet truly feels bad for the unnintentionally vicious wound, they have to grin a little sheepishly, gesturing to the girl.
Hearing, or perhaps /feeling/ the 'buzz' of the soul orb Velvet allows themselves to roll onto all fours--then flat against their stomach as the orb whizzes by--just missing them--they are able to spring back up onto their boots fluidly after that.
"Low bridge, woo!" they lean up and back and bring their right boot up for a snap kick against Menat's front!
COMBATSYS: Menat dodges Velvet Blue's Stiletto Pierce.
[ \\\\\\\\\\\\\\\\\\\\\\\\ < > ///////////////////////////// ]
Menat catches her returning orb.
With her foot.
Kicking upward at just the right time, Menat bounces it right into the air, where it flies up - fortunately the Magic Castle has a *very* high ceiling, because otherwise she might have hit it. "That was one of my bracers, actually. Please don't wreck them! They're hard to fix." Menat is more careful with her clothes than her skin, apparently.
Menat sees the kick coming before it lands. She leaps backwards, and her crystal ball takes that opportunity to fall back down from the ceiling; she catches it with an upraised hand, cupping it with her fingers, and brings it downward like a hammer on Velvet before he can finish getting up. Or that's the idea, at least.
COMBATSYS: Menat successfully hits Velvet Blue with Power Strike.
Menat 1/----===/=======|=====--\-------\0 Velvet Blue
"Your bracers!? what about my nails?!" Velvet looked down at his talon-like nails for a moment, perhaps fearing they had snapped one or two off when the slash went down, once they delivered the kick to Menat, that was--they were off-balance from having missed the kick, having expected it to hit--the crystal ball comes crashing down against his head, however--knocking the performer completely off balance and sprawling on their back, quite stunned.
"Oowww--" Velvet did a karate-esque snap with their legs and flipped themselves up and back to their feet.
"Talk about sweeping guys off their feet, didn't know you had it in you, honey--" Velvet turns and throws a roundhouse kick at Menat next--should she be near enough--pivoting away just after, to try and avoid a reprisal attack.
COMBATSYS: Velvet Blue successfully hits Menat with Evasive Strike.
[ \\\\\\\\\\\\\\\\\\\\\ < > /////////////////////// ]
Menat 1/----===/=======|======-\-------\0 Velvet Blue
"Try not to chip them," Menat says, with another grin, which she obscures with a pirouette back into place. The little weights on her shawl chime as she spins back into place.
Velvet is a fast opponent. Faster than she expected; the roundhouse kick catches Menat solidly. She actually lets it push her, using a quick flash of Soul Power to send herself flying under the force of the blow; she lands near the dias, between Velvet and the belt.
"Let's see what's in your future..." Menat glides the crystal ball in front of her, the inner glow brightening and sending stark shadows in front of her face. Presumably she can see Velvet, somehow, but mostly it looks like she should be blinding herself with the light.
COMBATSYS: Menat focuses on her next action.
It turns out Velvet had not, in fact, ruined their carefully filed and polished nail job on Menat's bracers--however, right now they had bigger things to worry about. He is sort of worried, at the moment--all that soul power the girl possessed--she was a different sort of energy user, he could tell that. He just feared being on the receiving end of all that might.
"Ohh, yeah? We could get you a gig as a TV Psychic--you okay with wearing a big silk headwrap? Or maybe just a beehive hairdo?" Velvet chuckles, taking initiative while Menat prepared herself there and sprang towards her.
"Lemme take you for a ride o/`" the lithe and agile performer was actually trying to spring into the air and /grab/ Menat out of it, and slam her to the ground!
COMBATSYS: Menat attempts to counter Strange Duet from Velvet Blue with Soul Reflect - Knot of Isis.
[ \\\\\\\\\\\\\\\\\\\\ < > ///////////////////// ]
Menat 0/-------/--=====|=====--\-------\0 Velvet Blue
"I've already got my own outfits, thanks. I don't need to mimic some has-been, or even my Master - I do a pretty good job in this!"
Menat reaches backwards, towards the belt. "But I think it would look a little better with this..."
She doesn't actually get it in her hands before Velvet is coming at her, but that was her plan from the beginning - she knows that getting her hands on the belt might be a good way to taunt now, but it's not going to win her the match. Only victory will do that!
As he springs toward her, Menat lets her ball glide away from her face, sending it whirling around in front of her her. Faster and faster, until the glow makes a loop in the air - and the interior of the loop is filled with a glass-like pane of Soul Power, hardened psychic power and telekinesis.
nd Velvet is flying right at it!
COMBATSYS: Menat successfully hits Velvet Blue with Soul Reflect - Knot of Isis.
[ \\\\\\\\\\\\\\\\\\\\ < > ///////////// ]
Menat 0/-------/--=====|=======\==-----\1 Velvet Blue
In retrospect, it was probably a really bad idea to vault after Menat--who was right near that pedestal--which was something one didn't want to take to the face--however, this does not seem to be what accidentally transpires! Velvet winds up taking the soul power orb as it does a loop and gets it right in the upper chest--the sternum, actually--it really hurts. Their entire body, head, arms and legs whip back as they are carried back through the air by it and wind up being sent tumbling to the ground with a very quite sickening set of crunches.
"Is that the best you can d--agh... ow..." Velvet tries to pull themselves up again, looking quite shakey, wavering in place. Which is probably not that difficult with the shoes he's wearing, to be fair.
"Okay then, kid gloves come off--" Velvet pulls the handle of their wakizashi from their right boot, hunching down and darting toward Menat with the blade singing out--lashing at her. The blade is held upside down in a 'stabbing' position, but they strike upwards and to the right with it--some kind of knife fighting technique.
COMBATSYS: Menat blocks Velvet Blue's Armed Combo.
[ \\\\\\\\\\\\\\\\\\ < > ///////////// ]
Menat 0/-------/--=====|=======\===----\1 Velvet Blue
This isn't the first time someone has pulled a knife on Menat, but it's probably the first time anyone has pulled a knife on Menat while she was fighting in an official match. (Please disregard the person who turned their wings into blades; that's totally different.) "I hope you didn't have them on before! This is serious!!"
The sphere returns to Menat, and she retrieves it, catching it on one fingertip and pulling it around as if it was attached there before flicking it out. A string of Soul Power connects her finger to the ball as she wields it like some kind of bizarre oversize yo-yo.
She cannot entirely deflect the incoming attack with it, though she tries; Velvet's blade skips off the apparently invulnerable ball before drawing a line down Menat's significantly less invulnerable arm. She lets out a pained yelp that totally wrecks her cool image.
At least for a moment, before she flicks the ball forward, toward Velvet. At this range she does not have to throw it to stick it to him; she just pushes it, trying to press it against him and knock him off balance. If she manages that, she leaps into the air (with the crystal ball still stuck to him) and delivers a mighty two-footed blow toward the orb, slamming it further into him but dislodging it and causing it to roll back to her as she recovers!
COMBATSYS: Menat successfully hits Velvet Blue with Overflowing Nile.
[ \\\\\\\\\\\\\\\\\ < > ////// ]
Menat 1/-------/=======|>>>>>>>\>>>>>>>\2 Velvet Blue
Velvet winds up clashing with one of Menat's soul orbs as he tries to strike her with his blade--which seems to be doing an adept job at it.
"Oof--hey--what's the matter, use your wonder woman bracers to turn it away, I figure that's--nnff--what they're there for!" The strikes come up mostly empty handed, the psi-user apparently able to guard against the attack.
The darkstalker-dericed energy inside Velvet hisses and burns at the touch of the psi-energy ball, thrust against him--as does the rest of him. His body is wracked with convulsions from the pain and shock, nearly collapsing against the floor.
"Agh... curtain call, bitch!" wreathing his hand in his own magic, Velvet attempts to press it against Menat's body, trying to clutch at her, pulling her into the spell he's prepared for her!
COMBATSYS: Velvet Blue successfully hits Menat with Spellbound Masquerade.
[ \\\\\\\\ < > //////// ]
Menat 1/-------/=======|>>>>>>>\>------\1 Velvet Blue
As Velvet Blue's long black nailed hand clutches at Menat's face... the sparkling prismatic glamour of his magic takes over--the space around them... and over her!
"And now, for one night only--I give you, our new rising star!" Velvet is there, in tophat and tailcoats, unveiling a curtain of magic.
Suddenly, Menat is joined by several actors in full cat costume and makeup, complete with black noses, contact lenses, even little fabric ears and tails. For the concert hall now serves as a stage. To the rousing chorus of "When will the summer day delay--when will time flow away?" Menat is there, in full on Felicia DLC costume regalia--the white fur, the magenta nails, the huge 80s blue hair. It feels (at least externally) like the time of her life, all the other costumed actors gathering around her and striking a pose along with the evening's newest star~
But... as all great performances do, she begins to feel a drain--physically and otherwise, the performance exerts it's toll, sending the dark-skinned psi-user crashing down as the spell comes to a crescendo!
"Wow, rude," is Menat's immediate reply. "IF you were anywhere near my Master she'd get you for that one!"
Velvet Blue grabs at Menat, and pulls her into a spell. The hallcuinatory image seizes her for several long moments; it doesn't hurt, really, but it saps at her energy even as she dances, something she is actually pretty good at -
But the difficulty with grabbing a psychic and putting her into a phantasmal image - one who's known for seeing beyond what most can - is that they see the truth. Menat breaks out at about the same time the spell hits the crescendo, the image shattering around her.
Well, not quite around her. It's broken around the ball, which she has thrown directly at Velvet Blue's face. She looks like she's about to fall over, but she has at least one chance left, and she intends to use it!
COMBATSYS: Velvet Blue blocks Menat's Soul Sphere.
[ \\\\\\\ < > ////// ]
Menat 1/------=/=======|>>>>>>>\>>>----\1 Velvet Blue
Yes, it was a full-blown production of CATS. I mean, what else was appropriate?
"What's the matter? This is your BIG BREAK ON BROADYWAY!" Velvet can be heard calling to her once the sudden, terrible pull of the performance begins to take it's hold on her, and it very much wasn't all in her head--though it's not like they had an audience here... except the folks at home. This was a Saturday Night Fight, after all!
The spell does break--but so does Menat, at least the part of her that can keep her fighting--and this time he's ready for that soul orb--the blade of Velvet's long blade brought up to impact against it--it still pushes the performer back, boots skidding and screaming against the floor, of course.
"You're a natural kid, but while I'm around you'll only be be a bit part in this show!" Velvet then projects a chi-based laser attack--right out of his eyes. Yes, you read that correctly, FRICKIN' LAZER EYES. They scorch across the floor of the audience hall, right towards her!
COMBATSYS: Velvet Blue successfully hits Menat with Wishmaster.
[ < > ///// ]
Menat 1/------=/=======|===----\-------\0 Velvet Blue
LASER EYES are a pretty impressive counterargument for basically everything.
They win the day today; Menat's eyes widen in sync with Velvet Blue's, but hers fail to produce any lasers whatsoever. She pulls up her orb in an attempt to catch the beam but is a little too late; she can neither reflect it back at him or even refract it in random directions that mostly are away from her.
So instead she curls up around the ball and vanishes in a cloud of violet. She reappears a moment later, about five feet directly above Velvet, having decided to go to a last-minute pin!
She is also mostly unconscious, so it's more like a rough belly-flop. At least she tried.
COMBATSYS: Menat can no longer fight.
> ///// ]
|===----\-------\0 Velvet Blue
COMBATSYS: Menat successfully hits Velvet Blue with Quick Throw.
> //// ]
|====---\-------\0 Velvet Blue
Of course, even after all that, Velvet isn't really looking too hot. Well, not hot in /that/ sense, anyway. They were actually looking pretty dizzy, and unsteady--so when Menat came down on him--well, the tailed darkstalker went with her, crashing to the floor and knocked out.
"Ow... hey the cat outfit didn't look /that/ bad, right?" hopefully Menat doesn't wake up first and shiv him for that. Either way, it doesn't appear there is a clear victor here today!
COMBATSYS: Velvet Blue takes no action.
COMBATSYS: Velvet Blue can no longer fight.
Log created on 17:12:36 02/26/2019 by Menat, and last modified on 22:40:41 02/27/2019.


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When a new toy line becomes successful, there are usually a bunch of cheaper copies created to look like the originals, and to sell like originals. This was no exception for the Jem dolls. Jem was Hasbro's flagship, and there were all kinds of knock-offs and cheap imitations. Some are obvious bootlegs and are mostly done by smaller companies, while the bigger ones try to hide their attempts by making their own and a little different version of the original idea without stepping on any copyrights and trademarks. Then of course there are those dolls that just happen to be lookalikes, and sometimes it's hard to tell which ones are what.
Too much competition is believed to be one of the reasons that eventually caused the Jem doll line to be discontinued, since it prevented the sales of the Jem dolls. But Jem obviously made it's mark and a lasting impression in the history of doll lines, and even today you can find new dolls that are clearly inspired by Jem dolls.
Here are some dolls that have something in common with the Jem dolls in one way or another, either they are direct bootlegs, rockstars, have punk hair colors, were made by the same company, were made in the 80's, or have some characteristics that reminds of Jem.
The queen of all fashion dolls ever since she first arrived in 1959, invented by businesswoman Ruth Handler, based directly on the German doll Bild Lilli. Barbie is a modern woman who has all kinds of interests and professions, she has a boyfriend named Ken and lots of friends. Although there's been a number of attempts to put her off the throne by other toy companies, several of which have practically succeeded, she has always worked her way back by creating new competition and following trends. Having a worked in name and being backed by such a huge company, has of course been an advantage.
In 1985, Mattel learned that Hasbro was releasing the Jem dolls. Barbie was Mattel's biggest brand, and Mattel apparently felt that the Jem dolls, even with the differences in size and theme, and even before they were released, posed a big threat. This was going to be the biggest competition that Mattel had faced for their worldknown doll line Barbie. Mattel was terrified of the competition and decided to give Barbie a rockband too, "Barbie and the Rockers", or "Barbie and the Rockstars" as in Europe. This was a completely new direction of the Barbie doll which had been pretty harmless in her previous releases, usually as a princess or a ballerina or such.
The first set of Barbie and the Rockers dolls to arrive were Barbie, Diva, Dana, Dee Dee and Derek. The dolls came with a fashion, shoes, a microphone, a sheet of cardboard prints, an iron-on decal, and the females also had a hairpiece, ring, bracelet, extra t-shirt and a hairbrush. Barbie came with a cassette which included the songs "The Rockers Theme", "Dressin' Up", "Born With A Mike", and "Stretchin' It", only two of which were included in the cartoon.
The second edition of the doll band was called "Real Dancing Action" for the females, and "Hot Rockin' Fun" for the males. Now there was one more male added to the group: Ken of course. This edition of dolls would kinda move their arms when you turned their body, they had new fashions but included no cassette.
The third set of dolls included Barbie and three female friends and a male, as "Barbie and the Sensations" and had a 50's look to them. They resembled what Barbie and the Rockers looked like when they travelled back in time in the cartoon. But all characters except Barbie changed to a name starting with a "B": Diva to Bopsy, Dee Dee to Belinda, Dana to Becky, and Ken to Bobby. There was also a line with six female fashions.
There were two sets of fashions released: Barbie and the Rockers fashions included 12 different fashions, two of which were for the male dolls. The second set of fashions included 6 fashions, one of which was for the male dolls, and was called "Concert Tour Fashions" or "Tour Fashions" in Europe.
There was a playset of a stage called "Hot Rockin' Stage", a pool called "Rockin' Pool Party", furnitures set called Rockin' House Party, extra instruments set called "Live Concert Instruments" and "Rock Concert", and other playsets like "Vanity Set", "Dance Cafe", "Recording Studio", "Hot Rockin' Van" and a remote controlled "Rockin' Cycle". And a cassette player without a stage in the same like Jem, called simply "Barbie And The Rockers Cassette Player".
As mentioned, there was even a Barbie and the Rockers cartoon made, in two parts, called "Out of this World" and "Rockin' Back to Earth", which featured all the characters, and several of the outfits and playsets. In the cartoon, Barbie and the Rockers were the only band around and loved by everyone in the whole world. There was certainly no competition from a band like the Misfits. Alot of the cartoon was about being friends and having a good time. At their worst, the Barbie and the Rockers characters were tired or disappointed for a second, then it was time to sing and dance again. They even went into space to perform.
Similarities to Jem, other than colorful rockstar dolls, were that the Barbie and the Rockers dolls had an edition of the leadsinger with star earrings, there was a male doll with combable hair, the group had one black and one asian member, the dolls came with a cassette with songs, and there was a Stage playset and a car. While the Jem dolls had more realistic and more bendable bodies, Barbie and the Rockers had their "Real Dancing Action" edition of dolls. Both of the cartoons had music videos that were blended with the action. The cartoon included some similar storylines as in the Jem cartoon, like time traveling and a fifties theme.
With all the similarities, Barbie and the Rockers were still apparantly of lower quality, as could be expected since they were made in a hurry and rushed out to compete with the Jem dolls. Half of the about 10 songs sang by Barbie and the Rockers in the cartoon were covers of old songs, some by the Beatles. While the Jem cartoon contained over a hundred songs, with no covers.
Mattel didn't seem to care at all about Barbie and the Rockers once they managed to silence Jem. Today however there is no question about which of these 80's rockstar cartoons and dolls is more remembered and popular. Try to search for a better site about Barbie and the Rockers than this one for example. And take a look at the auction site eBay, Barbie and the Rockers dolls are barely selling. While Jem dolls are selling better than ever. This is probably also how the sales would look today if Jem made a comeback into the toystores, even if Barbie and the Rockers made a copy-comeback (infact Mattel re-released an anniversary issue of Barbie from Barbie and the Rockers in 2008). Especially since the only thing that speaks in Barbie's advantage is that it's a wellknown brand and that Barbie has set the standard of doll fashion sizes, which won't fit dolls in bigger sizes like the Jem dolls. But those are easy fixes for Hasbro.
Offsite link: More info about Barbie and the Rockers on this page.
To make sure Jem was really dead, Mattel put out another band for Barbie, consisting of Barbie, Midge and Christie. This time they had glow in the dark fashions, and again came with a cassette tape, with songs written by Jerry and Cheryl Caglese and co-produced by Carlos Rios. There was also a fashion line with glow in the dark fashions.
After Barbie and the Beat, Mattel kept releasing music themed doll sets for Barbie, as if they had some kind of tics: Lights & Lace: "The hottest video music star", Rappin' Rockin': "Dance with Barbie to a jammin' beat".
Off-site link: Barbie & the Beat cassette music.
When the rights to Disney's "Little Mermaid" went to Tyco, Mattel did the same thing as always, their own version, but with pink hair? This might have been the very first time Barbie actually appeared in completely pink hair. It only goes to confirm how much Mattel really feared Jem back in the 80's and wish they had made her. And about 8 years later it was time to release another pink-haird mermaid called "Mermaid Fantasy".
Here is a Barbie with pink or blue hair streaks. Came with some kind of color to wash Barbie's hair with so it would go pink or blue.
In the late 90's as a response to the Spice Girls which had their big breakthrough a year earlier, and with Jem and the Holograms in memory, Mattel did it again, they responded with a rockband for Barbie, named "Beyond Pink". Beyond Pink consisted of Barbie and her friends Teresa and Christie. Barbie got a dress that reminded more of Jem's than ever, the dolls now had wild hair color strands, glow-in-the-dark accents in their hair, Jem style instruments, and came with a cassette again, this time with a song called "Think Pink", Dance Moves Barbie: "You make her move like a real dancer".
If you dip this Barbie's styling tools in cold water, you can stamp or stencil pink and purple hair tattoos. As usual there's a Teresa and Christie version also with punk hair colors.
Barbie got pink hair once more. There's also Barbie and Christie, both with the haircolors pink, orange and yellow. But Teresa was the most interesting of them. Teresa has light brown hair, plus the "hula hair" with the three punk colors, red, blue and purple. The same three colors as the Holograms dolls, Kimber (red), Aja (blue), Shana (purple).
It was a new century, and Mattel still hadn't gotten over Jem. This was perhaps one of their closest attempts to make dolls that looked like Jem. To begin with, the name "Jam", and to use it the same way the Jem line did "Jam'n Glam" (like "Glitter 'n Gold Jem" or "Rock 'n Curl Jem"...). Then there's the haircolors, you could switch between normal hair colors into wild hair colors. There were playsets like instruments and a tourbus that turned into a stage.
After Jam'n Glam, Mattel released even further sets with a music theme similar to Jem: Pop Sensation, My Scene: Jammin' In Jamaica, Chat Divas, Fashion Fever, I can be a Rock Star.
Off-site link: Jam 'N Glam Barbie Commercial.
Mattel covered all kinds of themes, whether it was female action figures, princesses, aliens, or now recently... monsters.
She-Ra the heroine of the planet Etheria, is the alter ego of Princess Adora, who is He-Man's lost twin sister. She-Ra is the leader of the Great Rebellion who are fighting against the evil Hordak to protect the planet. There was a 93 episodes long cartoon created by Filmation.
This line of action figures with rooted hair, arrived at almost the same time as Jem and although it had figures with punk hair colors, and She-ra had a dual identity, it wasn't a direct competition for Jem. She-Ra was Mattel's way of making a female version of He-Man and the Masters of the Universe, as well as cashing in on the Golden Girl line by Galoob. The line wasn't a big success outside the US.
Lady Lovely Locks is a princess, who togheter with her friends Maiden FairHair, Maiden CurlyCrown and the flying animals called Pixietails, defends the kingdom of Lovelylocks against Duchess Ravenwaves. There was a 20 episodes long cartoon series by Dic. This was another line of 80's dolls with colorful hair, although not much direct competiton for Jem.
These alien dolls from the planet "Shimmeron" had chrome bodies, sparkling strands in their hair. A line that was created by Mattel, and while Barbie and the Rockers covered the rockstar part about Jem, this line covered the wild hair colors and Jem-like makeup. Although the chromed bodies somewhat resembles Synergy's purple body, the reason they had chromed bodies was probably to compete with another doll, by Tonka, called Aurora. The main character of course had bright pink hair, and of course the male character had combable purple hair, and the black female member of course had bright purple hair. There was also a line of fashions available and playsets. This line wasn't a big success across the world.
When Hasbro didn't give up, but changed everything about Jem they thought would sell better, by making Maxie, Mattel must have been shocked. Mattel had released all they could think of to compete with Jem, a rockgroup, The Rockers, and dolls with punk hair colors, Spectra. Now it was time for Mattel to compete with Hasbro's more down to earth, blonde, high school doll line Maxie. So Mattel introduced Jazzie, as the "Cool Teen Cousin of Barbie".
Mattel played it safe, they added a visible "Barbie" logo. They also got this line out quite fast, like they did with the Rockers. This was possible by re-using molds and some ideas from their own ealier lines, which could match the theme of Maxie.
Jazzie boxes said "high school", which made it obvious they covered the same theme as Maxie. And Jazzie had a more round and youthful face and body than Barbie, and more colorful clothing. Jazzie and her friend Chelsie (redhead) got their head molds from Mattel's line Starr from 1979. Her friend Stacie (african american), got her headmold from the 1972 Mattel doll Steffie. And Jazzie's boyfriend Dude got his facemold from Derek of the Rockers. Perhaps Mattel was also inspired by it's own 1966 teen cousin of Barbie, called Francie.
It looks like Mattel were still competing against the Jem line aswell, by choosing a music-sounding name starting with a "J", and a box with a logo that was a little more hip like the Jem boxes. And choosing more obviously smiling facemolds, which had been one of the noticable updates of the Jem dolls in their second year.
This line, all in all, consisted of 13 dolls (counting the later two releases of Jazzie outside the actual line), 10 of which was Jazzie herself. There were 2 fashion lines of 6 fashions each, all for Jazzie herself. And they even took help from a known brand, Burger King, of which they released as a playset where also Barbie was featured on the box hanging out with Jazzie and her friends. They also made use of the brand Volkswagen when releasing a Cabriolet car.
The dolls weren't very well received, and Jazzie was not highly marketed world wide. Mattel was actually competing with themselves by releasing a very similar line for Barbie at the same time called Cool Times.
By 1990 the boxes of Jazzie became pink, perhaps to appeal to Barbie buyers. After the line was discontinued, Jazzie was kept as a friend of Barbie, they changed the boxes to look exactly like Barbie's pink boxes and with a huge Barbie logo, with the name Jazzie in smaller text. The last doll of Jazzie was released in 1992.
But apparently this doll, along with Barbie's own regular line, offered enough competition for Hasbro's Maxie line to be cancelled, just before Hasbro was planning on going back to the rockstar theme from Jem, with their next release of Maxie dolls.
None of the Jazzie dolls are considered rare today, and you can easily find any of the dolls up for auction.
Fashionable monster creatures who are said to be relatives of the famous old monsters like Dracula, Medusa, Frankenstein's monster, Zombies, Werewolves and so on. This is definitely Mattel's most successful attempt at competing against the Bratz and Moxie Girlz. Perhaps the highest-quality, most detailed, and most daring dolls Mattel has ever put out.
There are all kinds of dolls that resemble the styles and haircolors from Jem, like the redhead Operetta who is even dressed similarly to Kimber, and there's actually a car that uses the name "Roadster" like in the Jem line, not a common name for doll cars. It's not impossible this line was very inspired by Jem infact, because the twin brother designers of the Monster High line, Garrett and Darren Sander, are fans of Jem, which can even be seen in an official Mattel Youtube video where Darren wears a necklace with the Jem logo.
Hasbro has put out a number of fashion dolls, most noticably Sindy, which has been their longest lasting attempt, although the doll was more popular in Europe than in the US. Then there's been several short-lived doll lines, often based on real life singers, or even disney characters. After the Jem doll line was discontinued, Hasbro continued to use accessories from the Jem dolls, like bracelets and necklaces, on their other and new doll lines. And who knows what else was originally intended for the Jem line but used on later lines instead. These dolls are the closest that other dolls can truly come to the Jem dolls, since they're made by the same company.
An older version of Sindy, this Sindy with the bigger head is how Sindy looked before Hasbro bought the rights to Sindy from Pedigree in 1986. Sindy first came around only three years after Barbie, in 1962, and was a British creation in shape of a 12" fashion doll first produced in Kent. This particular doll is supposed to be a space doll, with the pink hair, silver top, a silver/pink cummerband, pink skirt and sandals. Most Sindy dolls had regular haircolors though. As for Jem connection, were also a couple of Sindy dolls called "Starlight", and several Sindy fashions used the same fabrics and shape of zigzag bracelets, and shared fashions with a line called Lace by Creata which made dolls based on the Jem style.
Now Hasbro had taken over the line and changed the head mold, made it a little smaller, but not as small as it was going to be. This doll, although it was made by the same company as Jem, seems to have been inspired by Jem, and top fabric is the same as the 1987 Jem Music Is Magic fashion "24 Carat Sound" the earring mold and color are the same as the 1987 Raya doll came with. Also included a similar microphone. This particular look was later re-released with Sindy's new smaller head, which had a change of top fabric though.
This is an example of the next version of Sindy's changed head size, which was more in size of Barbie's head. These dolls provided Barbie with a lot of competition in Europe, until atleast around 1996. This particular doll is interesting because it came with three bracelets, a pink, a yellow, and a black which have the exact same shape as the bracelets that came with the Jem dolls Glitter 'n Gold, Rock 'n Curl and Clash.
It seemed that Hasbro thought a rockstar doll like Jem was too distant for girls to identify with. And instead of changing Jem, Hasbro threw Jem away and started over. Still, Maxie inherited several things from the Jem dolls, as Hasbro re-used some sculpts for the male doll bodies, accessories like earrings, sunglasses and bracelets, and used some ideas that were supposed to be used on the Jem dolls before the line was discontinued. Like jewelry molds, or very similar ones, that was originally to be used on the Rockin' Romance Jem doll.
The dolls were more similar to Barbie's thinner size. Maxie was of course the main character with blonde hair, then there were her friends the brunette Ashley, redhead Carly, african american Kristen/Simone, and Maxie's boyfriend Rob. There were plenty of playsets aswell. The line only lasted three years though, atleast 28 dolls were released, and before it ended Maxie was even planned to get her own rockband, much like Jem.
Maxie also had her own cartoon called Maxie's World by DIC Entertainment, which lasted 32 episodes, almost half as long as the Jem cartoon, in which Maxie was a blonde high school girl with her own tv show, and otherwise lived a very down to earth life in seaside town of Surfside. The animation quality wasn't very great, but like Jem, it included some songs, but included more as background music.
Off-site link: The Sunny Surfin' World of Maxie.
The colorful ponies with combable hair and tail, that each had a special marking on both sides of their flanks. These ponies first appeared in the early 80's and were based on a less colorful pony called My Pretty Pony, also by Hasbro. There are regular ponies, seaponies, pegasus, unicorns, flutterponies, mermaidponies, and other animals even. Infact there are hundreds or even thousands of different ponies made since the 80's. And the line keeps returning in new shapes. Their first comeback was in 1997, the second was in 2003, and they're still around, currently in the fourth generation, referred to by collectors as G4. There were lots of fashions and playsets aswell. There were cartoon episodes and a movie made in the 80's, and in later years new shows have appeared aswell.
Collecting these ponies might seem like an impossible mission, especially since so many different ponies where created in different countries. The original series of ponies in the 80's and early 90's, released in the US and Europe, are called G1 and considered to be the main line, because these were released in higher numbers and were more consistant in their appearance. While ponies made in other countries during that time are referred to as Nirvana ponies. Infact there are some big differences even between the US and Europe ponies. Certain sets of the US ones were flocked, called So Soft, while the European ones were regular plain. Europe didn't get all ponies of some sets, but on the other hand they had some sets that were not available at all in the US.
You won't have any trouble finding most of the US and European ponies for sale today though, since they were very heavily massproduced. It just comes down to the rare ones which are more difficult to find, like the mail-in ponies, Euro exclusives (if you live in the US), Nirvanas, or even rare 80's bootlegs. And you have to be up to locating them all and perhaps buying lots. If you're planning to sell yours, let me tell you good luck! Because most collectors are so spoiled with finding options of ponies for sale, that they won't look your way unless you're a wellknown name in the pony collector communities who knows how to clean and restyle a pony. Or unless you are willing to sell a perfect shape pony for practically a dollar or two. But like many old toys, the ponies suffer from their own defect, unsensitively called "pony cancer". Which, along with penmarkings, haircuts, and worn hair is probably the biggest problem collectors have to face.
Since these ponies were made by Hasbro they shared molds with Jem for certain items, like the "Get Into The Groove" fashion in 1987 which included a green boom box in the same shape as the Jem doll Danse has in orange.
Something that was believed to connect the My Little Pony line to the Jem universe was the mail-in offer Rama Llama. A mysterious pink lama that was later proven to only be intended for Jem, even though it perhaps bares more resemblance to the colorful ponies.
Off-site link: Dream Valley - A Collectors Guide to My Little Pony.
Sort of a mix between My Little Pony and Jem. The connection to My Little Pony is obvious, and to us Jem fans so is the connection to Jem. The dolls come with colorful hair like Jem, but with pony ears. Some editions even come with instruments, and they have their own band called The Rainbooms.
Made by Kenner, a company that was bought by Tonka in 1987, and then Kenner and Tonka were bought by Hasbro in 1991. The body shape is similar to Jem. There were no punk hair colors, and the fashions were more elegant and 70's like than rockstar-like. There was also a fashion line, and a disco playset.
Golden Girl and the Guardians of the Gemstone is a line of female actionfigures (as well as two males) who battle against the evil forces of Dragon Queen. Female action figures are not the most common toys, and these pre-dated Mattel's She-ra, and were of superior quality. They were very detailed, had combable hair in punk hair colors, came with a cape, shield (in metal!), weapons and a comb. There was a line of fashions and playsets which included a couple of horses and a castle. There's no connection to Jem, but this was a cool line worth mentioning.
Off-site link: The Lair on Storm Isle.
About Rose Petal and her friends Lily Fair, Daffodil, Orchid, Sunny Sunflower, and Iris, which was available as a movie. Came out before the Jem line, and other than the colorful fashions, the only connection to Jem is that they share some of the fabrics of the Jem doll line. The fashion "Painting Posies" had a fabric that was going to be used on the Music Is Magic Jem fashion Splashes of Sounds, and was featured on the fashion box, although they for some reason went with another fabric for the Jem fashion.
The boxes said "The ultimate poseable fashion doll!" and "The future looks beautiful". This was apparently a futuristic line of dolls. Aurora, Mirra and Lustra came with chrome bodies and wild hair colors, like pink, blue and purple.
This line was an obvious copycat of Jem. Or perhaps something inbetween Jem and the Rockers. The box says "The Celebrity Rock Star with Fashion & Fame", which is partly the same as in the Jem theme song. It consisted of female dolls with regular haircolors with some streaks of either pink, red, light blue, or black. It also got a male member in the third edition, called "Glow N Glitter Ladd", does the name remind you of Glitter 'n Gold Rio? It even had a line of fashions. In box. What's most exciting about this line is that it can practically be considered a semi-official sister-line to Jem, like Sindy, Maxie and Darci. I'm not certain about how it all fits together, but apparently a Sindy set of dolls by Hasbro was released with the very same fashions as the Creata Lace dolls, the 1986 Disco Magic Sindy Dolls. Perhaps this fact will get some collectors running for unsold Lace dolls on online auctions, much like the My Little Pony collectors do for the Takara fakies. Creata also copied other doll lines of the time, like Lady Lovely Locks.
Off-site link: Creata's Lace Celebrity RockStar.
This is one of atleast four dolls, or atleast heads, called "Popstar/Popstyle styling heads". This is the most interesting of the dolls, it very much resembles Stormer. The flower in the blue curly hair, and that makeup. The other three have white hair and are called "Princess" or "Rock Star".
One of the first boybands. They consisted of five members: Jordan, Jonathan, Joe, Danny, Donnie, and were formed in 1984. They became world famous in the 80's and early 90's, with hits like "Step by Step", "You Got It (The Right Stuff)" and "Hangin' Tough". There was even a cartoon about them that featured their music, in around 18 episodes.
The main similarities to Jem is that they're a music group, with dolls made by Hasbro. The bodymold may be similar to Rio's. They also came with a mike (looks like the same shape as the Jem mikes), and there was a stage playset. Two issues were available "Hangin' Loose" and "In Concert" which came with a cassette.
The Spice Girls was a girlgroup of five members from the United Kingdom, who formed in 1994 and had their breakthrough in 1996 with the song "Wannabe". For a few years they gained success by marketing themselves almost as specific characters with nicknames, using the key phrase "Girl Power" and cashing in on all kinds of merchandise with their name and pictures on it. A doll line was one of the things that was released, and it consisted of 11 editions and lasted for about three years.
The girlgroup had several similarities to Jem and the Misfits, by the way they chose to market themselves, their looks and music videos. And the doll line only added to it all. Some of the dolls had punk haircolor strands, and their fashions had alot in common fabrics-wise. The first edition Emma doll resembled the first edition Jem doll alot, with it's metallic pink minidress. But the big deal was the Jem line's trademarked phrases which the Spice Girls dolls used without permission, like "Smashin' Fashions" and "Truly Outrageous". And there were rumors of a cartoon for a while, which never happended. Eventually Hasbro bought Galoob, and started making their own version of the Spice Girls dolls.
Off-site link: Spice Girls Vs. Jem.
These dolls, which first appeared in 1992 in Japan, are based on an anime show in which these characters are superheroes, dressed in sailor outfits, fighting against evil villains. It seems that many fans of Sailor Moon are also fans of Jem. But are the shows really that alike? The main character has a secret identity and then there are some punk haircolors on some of the characters, two with pink hair: Sailor Mini-Moon and Wicked Lady. And one of the main characters, Sailor Mars, has red star earrings. The blue-haired doll pictured is Sailor Mercury.
Soon upon their arrival these dolls became Mattel's biggest worry since the Jem dolls, infact they practically erased Barbie from the doll shelves. You could walk into toystores and had to literally search to even find a few Barbie dolls. A whole new generation of collectors ruled now, and they practically said Barbie was over.
Eventually Mattel did as they usually do, released their response, a very similar line of dolls. Mattel called it "My Scene", and the dolls had a lot more in common with the Bratz dolls than Barbie's regular format, with the big heads and a more modern style of clothing. This wasn't enough though. Despite contradicting themselves by having copied the style of the Bratz dolls, Mattel even took MGA to court, claiming the creator of the Bratz dolls had created the look of the Bratz dolls while he still worked at Mattel, and claimed the right for this doll format. Mattel managed to stop the Bratz dolls' takeover of the doll market for a while. And as the case went back and forward in favor of the two companies, Bratz lost a lot of ground on the market. So in retrospect Bratz who could have ruled the doll scene to this day, instead practically became known as a parenthesis, a shortlived trend in the doll industry.
Similarities to the Jem dolls, are large heads and some releases with punk hair colors or rockstar themes. There's a series of rocker dolls "Girlz Rock" which came with instruments and one of the dolls had pink hairstrands. The "On the Mic" series had a music theme and came with wild hair color strands and instruments. The "Masquerade" dolls have wild hair colors like all pink hair (three dolls) and other colors, but were likely made to compete with Mattel's "Monster High" dolls.
The Moxie Girlz was MGA's new line of dolls that were created during Mattel's lawsuit against the Bratz dolls. They are slightly larger than the Bratz dolls, but have a similar shape. The dolls in this set came with an instrument, a mike, and a wig of wild hair colors to change into.
Some lower quality dolls, which weren't marketed in an organized way, but worth mentioning because of their similarities to Jem.
A 11�" doll made in Hong Kong which is an obvious Jem copycat, with the artwork, the colorful hair, and even unusual set of instruments. Apparently came carded or boxed. Donna wasn't just the name of a rock and roll doll though, this company released all kinds of dolls under this name.
Diana, 1997 by Kee Fung Plastic World Ltd.
There were several of these released, and this particular one had a dress with a fabric from the Jem Glitter 'n Gold fashion "Fire & Ice", and they even used red fabrics under, and it was cut the same way, and came with white net tights and red shoes, and the top was of metallic fabric but not golden though.


text:
Re-evaluation of waist circumference in metabolic syndrome: A comparison between Japanese men and women
Nobuyuki Miyatake, Jun Wada, Sumiko Matsumoto, Hidetaka Nishikawa, Hirofumi Makino, Takeyuki Numata
We re-evaluated the criteria for waist circumference to predict the accumulation of the components of metabolic syndrome. We used data for 3,185 Japanese, aged 20-79 years. Metabolic syndrome has recently been redefined by a new criterion in Japan, in which waist circumference cutoff points, i.e. 85 cm for men and 90 cm for women, are employed. Among the 3,185 Japanese considered in the present study, 335 men (26.8%) and 69 women (3.6%) were diagnosed as having metabolic syndrome. A cutoff point as a predictor for 2 or more components of metabolic syndrome was evaluated by sensitivity/specificity and a receiver operating characteristic (ROC) curve. The optimal point was estimated as being approximately 85 cm of waist circumference in men and 75 cm in women. We therefore recommend a cutoff value, 75 cm of waist circumference, for the criterion of metabolic syndrome in women. Copyright
Receiver operating characteristic (ROC) curve
Dive into the research topics of 'Re-evaluation of waist circumference in metabolic syndrome: A comparison between Japanese men and women'. Together they form a unique fingerprint.
Waist Circumference Medicine & Life Sciences 100%
Metabolic Chemical Compounds 80%
ROC Curve Medicine & Life Sciences 16%
Japan Medicine & Life Sciences 16%
Sensitivity and Specificity Medicine & Life Sciences 14%
Miyatake, N., Wada, J., Matsumoto, S., Nishikawa, H., Makino, H., & Numata, T. (2007). Re-evaluation of waist circumference in metabolic syndrome: A comparison between Japanese men and women. Acta medica Okayama, 61(3), 167-169.
Re-evaluation of waist circumference in metabolic syndrome : A comparison between Japanese men and women. / Miyatake, Nobuyuki; Wada, Jun; Matsumoto, Sumiko; Nishikawa, Hidetaka; Makino, Hirofumi; Numata, Takeyuki.
In: Acta medica Okayama, Vol. 61, No. 3, 06.2007, p. 167-169.
Miyatake, N, Wada, J, Matsumoto, S, Nishikawa, H, Makino, H & Numata, T 2007, 'Re-evaluation of waist circumference in metabolic syndrome: A comparison between Japanese men and women', Acta medica Okayama, vol. 61, no. 3, pp. 167-169.
Miyatake N, Wada J, Matsumoto S, Nishikawa H, Makino H, Numata T. Re-evaluation of waist circumference in metabolic syndrome: A comparison between Japanese men and women. Acta medica Okayama. 2007 Jun;61(3):167-169.
Miyatake, Nobuyuki ; Wada, Jun ; Matsumoto, Sumiko ; Nishikawa, Hidetaka ; Makino, Hirofumi ; Numata, Takeyuki. / Re-evaluation of waist circumference in metabolic syndrome : A comparison between Japanese men and women. In: Acta medica Okayama. 2007 ; Vol. 61, No. 3. pp. 167-169.
@article{1b44529ba02e46fab315b3b012a40aa6,
title = "Re-evaluation of waist circumference in metabolic syndrome: A comparison between Japanese men and women",
abstract = "We re-evaluated the criteria for waist circumference to predict the accumulation of the components of metabolic syndrome. We used data for 3,185 Japanese, aged 20-79 years. Metabolic syndrome has recently been redefined by a new criterion in Japan, in which waist circumference cutoff points, i.e. 85 cm for men and 90 cm for women, are employed. Among the 3,185 Japanese considered in the present study, 335 men (26.8%) and 69 women (3.6%) were diagnosed as having metabolic syndrome. A cutoff point as a predictor for 2 or more components of metabolic syndrome was evaluated by sensitivity/specificity and a receiver operating characteristic (ROC) curve. The optimal point was estimated as being approximately 85 cm of waist circumference in men and 75 cm in women. We therefore recommend a cutoff value, 75 cm of waist circumference, for the criterion of metabolic syndrome in women. Copyright",
keywords = "Metabolic syndrome, Receiver operating characteristic (ROC) curve, Sensitivity, Specificity, Waist circumference",
author = "Nobuyuki Miyatake and Jun Wada and Sumiko Matsumoto and Hidetaka Nishikawa and Hirofumi Makino and Takeyuki Numata",
journal = "Acta Medica Okayama",
publisher = "Okayama University",
T1 - Re-evaluation of waist circumference in metabolic syndrome
T2 - A comparison between Japanese men and women
AU - Miyatake, Nobuyuki
AU - Wada, Jun
AU - Matsumoto, Sumiko
AU - Nishikawa, Hidetaka
AU - Makino, Hirofumi
AU - Numata, Takeyuki
N2 - We re-evaluated the criteria for waist circumference to predict the accumulation of the components of metabolic syndrome. We used data for 3,185 Japanese, aged 20-79 years. Metabolic syndrome has recently been redefined by a new criterion in Japan, in which waist circumference cutoff points, i.e. 85 cm for men and 90 cm for women, are employed. Among the 3,185 Japanese considered in the present study, 335 men (26.8%) and 69 women (3.6%) were diagnosed as having metabolic syndrome. A cutoff point as a predictor for 2 or more components of metabolic syndrome was evaluated by sensitivity/specificity and a receiver operating characteristic (ROC) curve. The optimal point was estimated as being approximately 85 cm of waist circumference in men and 75 cm in women. We therefore recommend a cutoff value, 75 cm of waist circumference, for the criterion of metabolic syndrome in women. Copyright
AB - We re-evaluated the criteria for waist circumference to predict the accumulation of the components of metabolic syndrome. We used data for 3,185 Japanese, aged 20-79 years. Metabolic syndrome has recently been redefined by a new criterion in Japan, in which waist circumference cutoff points, i.e. 85 cm for men and 90 cm for women, are employed. Among the 3,185 Japanese considered in the present study, 335 men (26.8%) and 69 women (3.6%) were diagnosed as having metabolic syndrome. A cutoff point as a predictor for 2 or more components of metabolic syndrome was evaluated by sensitivity/specificity and a receiver operating characteristic (ROC) curve. The optimal point was estimated as being approximately 85 cm of waist circumference in men and 75 cm in women. We therefore recommend a cutoff value, 75 cm of waist circumference, for the criterion of metabolic syndrome in women. Copyright
KW - Metabolic syndrome
KW - Receiver operating characteristic (ROC) curve
KW - Sensitivity
KW - Specificity
KW - Waist circumference
JO - Acta Medica Okayama
JF - Acta Medica Okayama


text:
use crate::dpi::LogicalPosition;
use crate::event::{ModifiersState, MouseButton, MouseScrollDelta, ScanCode, VirtualKeyCode};

use std::convert::TryInto;
use web_sys::{HtmlCanvasElement, KeyboardEvent, MouseEvent, WheelEvent};

pub fn mouse_button(event: &MouseEvent) -> MouseButton {
    match event.button() {
        0 => MouseButton::Left,
        1 => MouseButton::Middle,
        2 => MouseButton::Right,
        i => MouseButton::Other((i - 3).try_into().expect("very large mouse button value")),
    }
}

pub fn mouse_modifiers(event: &MouseEvent) -> ModifiersState {
    let mut m = ModifiersState::empty();
    m.set(ModifiersState::SHIFT, event.shift_key());
    m.set(ModifiersState::CTRL, event.ctrl_key());
    m.set(ModifiersState::ALT, event.alt_key());
    m.set(ModifiersState::LOGO, event.meta_key());
    m
}

pub fn mouse_position(event: &MouseEvent) -> LogicalPosition<f64> {
    LogicalPosition {
        x: event.offset_x() as f64,
        y: event.offset_y() as f64,
    }
}

pub fn mouse_delta(event: &MouseEvent) -> LogicalPosition<f64> {
    LogicalPosition {
        x: event.movement_x() as f64,
        y: event.movement_y() as f64,
    }
}

pub fn mouse_position_by_client(
    event: &MouseEvent,
    canvas: &HtmlCanvasElement,
) -> LogicalPosition<f64> {
    let bounding_client_rect = canvas.get_bounding_client_rect();
    LogicalPosition {
        x: event.client_x() as f64 - bounding_client_rect.x(),
        y: event.client_y() as f64 - bounding_client_rect.y(),
    }
}

pub fn mouse_scroll_delta(event: &WheelEvent) -> Option<MouseScrollDelta> {
    let x = event.delta_x();
    let y = -event.delta_y();

    match event.delta_mode() {
        WheelEvent::DOM_DELTA_LINE => Some(MouseScrollDelta::LineDelta(x as f32, y as f32)),
        WheelEvent::DOM_DELTA_PIXEL => {
            let delta = LogicalPosition::new(x, y).to_physical(super::scale_factor());
            Some(MouseScrollDelta::PixelDelta(delta))
        }
        _ => None,
    }
}

pub fn scan_code(event: &KeyboardEvent) -> ScanCode {
    match event.key_code() {
        0 => event.char_code(),
        i => i,
    }
}

pub fn virtual_key_code(event: &KeyboardEvent) -> Option<VirtualKeyCode> {
    Some(match &event.code()[..] {
        "Digit1" => VirtualKeyCode::Key1,
        "Digit2" => VirtualKeyCode::Key2,
        "Digit3" => VirtualKeyCode::Key3,
        "Digit4" => VirtualKeyCode::Key4,
        "Digit5" => VirtualKeyCode::Key5,
        "Digit6" => VirtualKeyCode::Key6,
        "Digit7" => VirtualKeyCode::Key7,
        "Digit8" => VirtualKeyCode::Key8,
        "Digit9" => VirtualKeyCode::Key9,
        "Digit0" => VirtualKeyCode::Key0,
        "KeyA" => VirtualKeyCode::A,
        "KeyB" => VirtualKeyCode::B,
        "KeyC" => VirtualKeyCode::C,
        "KeyD" => VirtualKeyCode::D,
        "KeyE" => VirtualKeyCode::E,
        "KeyF" => VirtualKeyCode::F,
        "KeyG" => VirtualKeyCode::G,
        "KeyH" => VirtualKeyCode::H,
        "KeyI" => VirtualKeyCode::I,
        "KeyJ" => VirtualKeyCode::J,
        "KeyK" => VirtualKeyCode::K,
        "KeyL" => VirtualKeyCode::L,
        "KeyM" => VirtualKeyCode::M,
        "KeyN" => VirtualKeyCode::N,
        "KeyO" => VirtualKeyCode::O,
        "KeyP" => VirtualKeyCode::P,
        "KeyQ" => VirtualKeyCode::Q,
        "KeyR" => VirtualKeyCode::R,
        "KeyS" => VirtualKeyCode::S,
        "KeyT" => VirtualKeyCode::T,
        "KeyU" => VirtualKeyCode::U,
        "KeyV" => VirtualKeyCode::V,
        "KeyW" => VirtualKeyCode::W,
        "KeyX" => VirtualKeyCode::X,
        "KeyY" => VirtualKeyCode::Y,
        "KeyZ" => VirtualKeyCode::Z,
        "Escape" => VirtualKeyCode::Escape,
        "F1" => VirtualKeyCode::F1,
        "F2" => VirtualKeyCode::F2,
        "F3" => VirtualKeyCode::F3,
        "F4" => VirtualKeyCode::F4,
        "F5" => VirtualKeyCode::F5,
        "F6" => VirtualKeyCode::F6,
        "F7" => VirtualKeyCode::F7,
        "F8" => VirtualKeyCode::F8,
        "F9" => VirtualKeyCode::F9,
        "F10" => VirtualKeyCode::F10,
        "F11" => VirtualKeyCode::F11,
        "F12" => VirtualKeyCode::F12,
        "F13" => VirtualKeyCode::F13,
        "F14" => VirtualKeyCode::F14,
        "F15" => VirtualKeyCode::F15,
        "F16" => VirtualKeyCode::F16,
        "F17" => VirtualKeyCode::F17,
        "F18" => VirtualKeyCode::F18,
        "F19" => VirtualKeyCode::F19,
        "F20" => VirtualKeyCode::F20,
        "F21" => VirtualKeyCode::F21,
        "F22" => VirtualKeyCode::F22,
        "F23" => VirtualKeyCode::F23,
        "F24" => VirtualKeyCode::F24,
        "PrintScreen" => VirtualKeyCode::Snapshot,
        "ScrollLock" => VirtualKeyCode::Scroll,
        "Pause" => VirtualKeyCode::Pause,
        "Insert" => VirtualKeyCode::Insert,
        "Home" => VirtualKeyCode::Home,
        "Delete" => VirtualKeyCode::Delete,
        "End" => VirtualKeyCode::End,
        "PageDown" => VirtualKeyCode::PageDown,
        "PageUp" => VirtualKeyCode::PageUp,
        "ArrowLeft" => VirtualKeyCode::Left,
        "ArrowUp" => VirtualKeyCode::Up,
        "ArrowRight" => VirtualKeyCode::Right,
        "ArrowDown" => VirtualKeyCode::Down,
        "Backspace" => VirtualKeyCode::Back,
        "Enter" => VirtualKeyCode::Return,
        "Space" => VirtualKeyCode::Space,
        "Compose" => VirtualKeyCode::Compose,
        "Caret" => VirtualKeyCode::Caret,
        "NumLock" => VirtualKeyCode::Numlock,
        "Numpad0" => VirtualKeyCode::Numpad0,
        "Numpad1" => VirtualKeyCode::Numpad1,
        "Numpad2" => VirtualKeyCode::Numpad2,
        "Numpad3" => VirtualKeyCode::Numpad3,
        "Numpad4" => VirtualKeyCode::Numpad4,
        "Numpad5" => VirtualKeyCode::Numpad5,
        "Numpad6" => VirtualKeyCode::Numpad6,
        "Numpad7" => VirtualKeyCode::Numpad7,
        "Numpad8" => VirtualKeyCode::Numpad8,
        "Numpad9" => VirtualKeyCode::Numpad9,
        "AbntC1" => VirtualKeyCode::AbntC1,
        "AbntC2" => VirtualKeyCode::AbntC2,
        "NumpadAdd" => VirtualKeyCode::NumpadAdd,
        "Quote" => VirtualKeyCode::Apostrophe,
        "Apps" => VirtualKeyCode::Apps,
        "At" => VirtualKeyCode::At,
        "Ax" => VirtualKeyCode::Ax,
        "Backslash" => VirtualKeyCode::Backslash,
        "Calculator" => VirtualKeyCode::Calculator,
        "Capital" => VirtualKeyCode::Capital,
        "Semicolon" => VirtualKeyCode::Semicolon,
        "Comma" => VirtualKeyCode::Comma,
        "Convert" => VirtualKeyCode::Convert,
        "NumpadDecimal" => VirtualKeyCode::NumpadDecimal,
        "NumpadDivide" => VirtualKeyCode::NumpadDivide,
        "Equal" => VirtualKeyCode::Equals,
        "Backquote" => VirtualKeyCode::Grave,
        "Kana" => VirtualKeyCode::Kana,
        "Kanji" => VirtualKeyCode::Kanji,
        "AltLeft" => VirtualKeyCode::LAlt,
        "BracketLeft" => VirtualKeyCode::LBracket,
        "ControlLeft" => VirtualKeyCode::LControl,
        "ShiftLeft" => VirtualKeyCode::LShift,
        "MetaLeft" => VirtualKeyCode::LWin,
        "Mail" => VirtualKeyCode::Mail,
        "MediaSelect" => VirtualKeyCode::MediaSelect,
        "MediaStop" => VirtualKeyCode::MediaStop,
        "Minus" => VirtualKeyCode::Minus,
        "NumpadMultiply" => VirtualKeyCode::NumpadMultiply,
        "Mute" => VirtualKeyCode::Mute,
        "LaunchMyComputer" => VirtualKeyCode::MyComputer,
        "NavigateForward" => VirtualKeyCode::NavigateForward,
        "NavigateBackward" => VirtualKeyCode::NavigateBackward,
        "NextTrack" => VirtualKeyCode::NextTrack,
        "NoConvert" => VirtualKeyCode::NoConvert,
        "NumpadComma" => VirtualKeyCode::NumpadComma,
        "NumpadEnter" => VirtualKeyCode::NumpadEnter,
        "NumpadEquals" => VirtualKeyCode::NumpadEquals,
        "OEM102" => VirtualKeyCode::OEM102,
        "Period" => VirtualKeyCode::Period,
        "PlayPause" => VirtualKeyCode::PlayPause,
        "Power" => VirtualKeyCode::Power,
        "PrevTrack" => VirtualKeyCode::PrevTrack,
        "AltRight" => VirtualKeyCode::RAlt,
        "BracketRight" => VirtualKeyCode::RBracket,
        "ControlRight" => VirtualKeyCode::RControl,
        "ShiftRight" => VirtualKeyCode::RShift,
        "MetaRight" => VirtualKeyCode::RWin,
        "Slash" => VirtualKeyCode::Slash,
        "Sleep" => VirtualKeyCode::Sleep,
        "Stop" => VirtualKeyCode::Stop,
        "NumpadSubtract" => VirtualKeyCode::NumpadSubtract,
        "Sysrq" => VirtualKeyCode::Sysrq,
        "Tab" => VirtualKeyCode::Tab,
        "Underline" => VirtualKeyCode::Underline,
        "Unlabeled" => VirtualKeyCode::Unlabeled,
        "AudioVolumeDown" => VirtualKeyCode::VolumeDown,
        "AudioVolumeUp" => VirtualKeyCode::VolumeUp,
        "Wake" => VirtualKeyCode::Wake,
        "WebBack" => VirtualKeyCode::WebBack,
        "WebFavorites" => VirtualKeyCode::WebFavorites,
        "WebForward" => VirtualKeyCode::WebForward,
        "WebHome" => VirtualKeyCode::WebHome,
        "WebRefresh" => VirtualKeyCode::WebRefresh,
        "WebSearch" => VirtualKeyCode::WebSearch,
        "WebStop" => VirtualKeyCode::WebStop,
        "Yen" => VirtualKeyCode::Yen,
        _ => return None,
    })
}

pub fn keyboard_modifiers(event: &KeyboardEvent) -> ModifiersState {
    let mut m = ModifiersState::empty();
    m.set(ModifiersState::SHIFT, event.shift_key());
    m.set(ModifiersState::CTRL, event.ctrl_key());
    m.set(ModifiersState::ALT, event.alt_key());
    m.set(ModifiersState::LOGO, event.meta_key());
    m
}

pub fn codepoint(event: &KeyboardEvent) -> char {
    // `event.key()` always returns a non-empty `String`. Therefore, this should
    // never panic.
    // https://developer.mozilla.org/en-US/docs/Web/API/KeyboardEvent/key
    event.key().chars().next().unwrap()
}

redpajama_set_name: RedPajamaGithub


text:
module Megaplan

  class Severity < Api

    class << self

      def class_endpoint
        "/BumsTaskApiV01/Severity/"
      end

    end
  end
end