IN: A choir () (also known as a quire, chorale or chorus) is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform. Choirs may perform music from the classical music repertoire, which spans from the Medieval era to the present, or popular music repertoire. Most choirs are led by a conductor, who leads the performances with arm and face gestures.

Composers of the late 18th century became fascinated with the new possibilities of the symphony and other instrumental music, and generally neglected choral music. Mozart's choral works, though not as numerous as his works for other media, stand out as some of his greatest (such as the "Great" Mass in C minor and Requiem in D minor, the latter of which is often considered the greatest Requiem Mass of all time). Haydn became more interested in choral music near the end of his life following his visits to England in the 1790s, when he heard various Handel oratorios performed by large forces; he wrote a series of masses beginning in 1797 and his two great oratorios The Creation and The Seasons. Beethoven wrote only two masses, both intended for liturgical use, although his Missa solemnis is probably suitable only for the grandest ceremonies due to its length, difficulty and large-scale scoring. He also pioneered the use of chorus as part of symphonic texture with his Ninth Symphony and Choral Fantasia.  In the 19th century, sacred music escaped from the church and leaped onto the concert stage, with large sacred works unsuitable for church use, such as Berlioz's Te Deum and Requiem, and Brahms's Ein deutsches Requiem. Rossini's Stabat mater, Schubert's masses, and Verdi's Requiem also exploited the grandeur offered by instrumental accompaniment. Oratorios also continued to be written, clearly influenced by Handel's models. Berlioz's L'enfance du Christ and Mendelssohn's Elijah and St Paul are in the category. Schubert, Mendelssohn, and Brahms also wrote secular cantatas, the best known of which are Brahms's Schicksalslied and Nanie.  A few composers developed a cappella music, especially Bruckner, whose masses and motets startlingly juxtapose Renaissance counterpoint with chromatic harmony. Mendelssohn and Brahms also wrote significant a cappella motets. The amateur chorus (beginning chiefly as a social outlet) began to receive serious consideration as a compositional venue for the part-songs of Schubert, Schumann, Mendelssohn, Brahms, and others. These 'singing clubs' were often for women or men separately, and the music was typically in four-part (hence the name "part-song") and either a cappella or with simple instrumentation. At the same time, the Cecilian movement attempted a restoration of the pure Renaissance style in Catholic churches.
QUESTION: Can you elaborate on this?
IN: April O'Neil is a fictional character from the Teenage Mutant Ninja Turtles comics. She is the first human ally of the Turtles: Leonardo, Donatello, Raphael, and Michelangelo. April made her first appearance in the Mirage comic series in 1984 as a computer programmer. She was later portrayed as a strong-willed news reporter in the Turtles' first animated series, as a warrior in the Teenage Mutant Ninja Turtles Adventures comic produced by Archie Comics, and various other personas in different TMNT media.

In the original Mirage Comics storyline for Teenage Mutant Ninja Turtles, April O'Neil was a skilled computer programmer and assistant to a famous yet nefarious scientist, Baxter Stockman. She helped program his MOUSER robots but, after discovering Baxter was using them to burrow into bank vaults, she fled his workshop. Robots chased her into the sewer where she was promptly saved by three of the Turtles. The Turtles later successfully fended off a MOUSER invasion.  After leaving her job with Baxter, April decided to open an antique shop. The shop was subsequently destroyed in a battle between the Turtles and Shredder and the Foot Clan. April and the Turtles retreated to a farm house in Northampton, Massachusetts to recover and during this time she suffered recurrent nightmares about the Foot Clan's attack. During the mid-1990s, April became romantically involved with the violent vigilante Casey Jones, and the two of them eventually raised Shadow, the child of Casey's late wife Gabrielle, as their own.  In Volume 2 of the TMNT comics, April was attacked by a huge robot controlled by the brain of her former boss, Baxter Stockman, and injected with nanobots. With the help of the Utroms, the Turtles injected April with turtle versions of nanobots to stop Baxter's plan. The intervention saved April before Baxter's nanobots could reach her brain stem and kill her. The attack rendered April sterile. To deal with the emotional strain she became a female version of "Nobody", a vigilante crime fighter, until her identity was discovered by Casey Jones. With the help of Renet, a time-traveler who took April back through time, it was revealed that April was really a living drawing brought to life with the help of Kirby's crystal. She was drawn by her father before his own biological daughter Robyn O'Neil was born. Although Kirby drew with pencil that would vanish after a while, April's father used a pen, which might explain why April lived past thirty without vanishing. Questions of realness and morality were too much for April; she bid farewell to Shadow and Casey and travelled to Alaska to be alone with her thoughts. Although the trip helped April cope with her demons and led to her eventual return to New York, her family history remained unexplored.  The Mirage Studios version of April has dark brown/black hair (though early color reprints of Volume 1 depicted her hair color as red/light brown). Most subsequent incarnations of April are redheads. In the September 1985 re-printing of issue one, artist Ryan Brown depicts April as a katana-wielding ninja warrior in his back cover pin-up.
QUESTION:
What year did Teenage Mutant Turtles some out?