Lito

Lito may refer to:

People

Other uses

See also

Lito (Cape Verdean footballer)

Cláudio Zélito da Fonseca Fernandes Aguiar (born 3 February 1975), known as Lito, is a Cape Verdean retired footballer who played mainly as a forward.

He amassed Primeira Liga totals of 224 games and 41 goals over the course of eight seasons, representing in the competition Moreirense, Naval, Académica and Portimonense.

Club career

Born in Pedra Badejo, Santiago, Lito played his entire football career in Portugal, playing in nearly every level. He started out with Águias de Camarate in the regional leagues of Lisbon, going on to represent A.D. Fafe, S.C. Espinho, Imortal de Albufeira and F.C. Maia.

In the 2003–04 season, at the age of 28, Lito made his Primeira Liga debuts, with Moreirense FC. After suffering relegation in his second year he stayed in that level, signing for Associação Naval 1º de Maio.

Aged 32, Lito joined Académica de Coimbra, enjoying his best seasons in his first two years (17 league goals combined, including a hat-trick in a 3–3 home draw against C.F. Estrela da Amadora on 4 November 2007). After still being an important attacking unit in the 2009–10 campaign, again helping the Students maintain their top division status, he moved to freshly promoted club Portimonense SC for an undisclosed fee.

Lito Vidigal

José Carlos Fernandes Vidigal (born 11 July 1969), commonly known as Lito, is a former Angolan professional footballer who played as a defender, and the current coach of F.C. Arouca.

Playing career

Born in Luanda, Angola, Vidigal spent his entire career in Portugal, representing at the professional level O Elvas CAD, S.C. Campomaiorense, C.F. Os Belenenses and C.D. Santa Clara and retiring in 2003 at the age of 34, playing 212 matches the first and second divisions combined.

Internationally, Vidigal appeared for Angola at the 1998 Africa Cup of Nations, gaining a total of 16 caps.

Coaching career

Immediately after retiring in 2004, Vidigal took up coaching, starting with lowly A.D. Pontassolense and G.D. Ribeirão. In 2008 he moved to C.F. Estrela da Amadora – coaching his younger brother Luís after he returned from a lengthy spell in Italy – and joined second level's Portimonense SC.

In late October 2009, as Manuel Fernandes bought out his contract at U.D. Leiria to return to his favorite club Vitória de Setúbal, Vidigal was named his successor. On 8 January 2011, he was appointed coach of the Angolan national team.

List of MÄR characters

This is a list of characters in the MÄR series developed and designed by Nobuyuki Anzai.

Team MÄR

Ginta Toramizu

(虎水ギンタ Toramizu Ginta)
Voiced by: Motoko Kumai (Japanese), Spike Spencer (English)

Babbo

(バッボ)
Voiced by: Banjou Ginga (Japanese), Michael McConnohie (English)

Babbo is a unique ÄRM that was first wielded by Phantom and is later wielded by Ginta. He resembles a metal kendama. He contained the soul of the previous Elder of Caldia.

Babbo has many forms:

Loco (Apache)

Loco (1823–1905 or 1909) was a Copper Mines Mimbreño Apache chief.

Name

It is unknown whence Loco received his name. One theory suggests that he was named for the fact that he was "'crazy' enough to trust the white men." Another theory says that he got his name from his actions at a battle against the Mexicans, where he supposedly braved gunfire in order to save an injured warrior.

Time as chief

Unlike the militant Geronimo and the proud but aware Victorio, Loco was an advocate for peace. After the death of Cuchillo Negro, chief of the Warm Springs Tchihende, (1857) and Mangas Coloradas, chief of the Copper Mines Tchihende, (1863), the Copper Mines Mimbreños and the Warm Springs Mimbreños, under Pindah's pressure, were forced to leave the Pinos Altos area, near Santa Rita del Cobre, and try to concentrate in the Ojo Caliente area both of the tribe's bands; after Delgadito's death (1864) the Copper Mines Tchihende Loco, along with the Warm Springs Tchihende Victorio (who, already chosen as his son-in-law by Mangas Coloradas, was preferred to the older Nana), became the chiefs. The Mimbreños accepted to settle in a reservation, before at Ojo Caliente and later at Cañada Alamosa, but the Mimbreño reservation was abolished, and Victorio's and Loco's people was sent to the Mescalero reservation at Tularosa. When the Government stated to deport the Mimbreños to San Carlos, in 1877 Victorio and Loco led back their people to Ojo Caliente, but, in 1878, 9th Cavalry was sent to bring them back to San Carlos. Victorio took again the warpath, but Loco was arrested. Loco didn't join Victorio in his last war in 1879-1880, remaining in the San Carlos reservation. In 1882, when a party of Apaches including Geronimo forced Loco to leave for Mexico, Loco instead waged guerilla warfare against the Chiricahuas. In 1886, Loco went to Washington, D.C. to negotiate; however, like Geronimo, he was made prisoner and sent to Florida.

Loco (composition)

Loco is an orchestral composition in one movement by the American composer Jennifer Higdon. The work was commissioned by the Ravinia Festival of Highland Park, Illinois to commemorate the Ravinia train as part of the Train Commission Project. It was first performed on July 31, 2004 at the Ravinia Festival by the Chicago Symphony Orchestra.

Composition

Loco has a duration of roughly 8 minutes and is composed in a single movement. Higdon described her inspiration for the piece in the score program notes, writing:

Instrumentation

The work is scored for an orchestra comprising two flutes, piccolo, three oboes, three clarinets, two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, piano, timpani, three percussionists, and strings.

Reception

Jeremy Eichler of The Boston Globe described Loco as "a gleaming and rambunctious curtain-raiser". Scott Cantrell of The Dallas Morning News similarly called it "seven minutes of high-energy scurries, clatters, chatters, jabs, chugs and fanfares." Andrew Druckenbrod of the Pittsburgh Post-Gazette wrote, "This piece imitates a "fast-moving train," and it roared into the hall. The fanfare-like work filled every nook and cranny with rhythmic pulsing and walls of sound." He added: