title: Krabbe disease

text: Krabbe disease occurs in about one in 100,000 births. Because the disease is genetic, incidence rates vary widely from population to population. The incidence rate is extremely low in Japan, with between 5 and 10 cases per 1,000,000 live births. In the United States, Krabbe disease occurs in approximately 1 out of every 100,000 live births. Scandinavian countries report incidence rates of one in 50,000 births. In certain communities Krabbe disease is much more frequent, such as the Druze community in Israel, which has an incidence rate of 6 out of every 1,000 live births. This higher rate is thought to be due in part to a high frequency of consanguineous marriages. Almost 35% of all Druze marriages were found to be between first-cousin familial relations. There have been no reported cases of Krabbe disease among the Jewish community.


title: Krabbe disease

text: Time of onset also varies in frequency by location. Early infantile Krabbe Disease is the most common form of the disease overall, but Nordic communities tend to have even higher rates of early infantile onset Krabbe disease, while Southern European countries have higher incidences of late-onset cases. It is difficult to estimate the incidence of adult-onset Krabbe disease, due to discrepancies in classifying cases late-onset versus adult-onset.


title: Krabbe disease

text: Former Buffalo Bills quarterback Jim Kelly has been a leader in gaining recognition and research funding for Krabbe disease following the diagnosis of his son, Hunter, in 1997. Hunter Kelly died of the disease on August 5, 2005, at the age of eight. They created Hunter's Hope - a foundation that seeks to advance Newborn Screening, research and treatments, and provides support to families of leukodystrophy children.


title: Krabbe disease

text: Family advocacy is a critical part of advancing newborn screening, and many Krabbe families have made significant advocacy progress in their states.


title: Krabbe disease

text: As an example, Cove Ellis is a child from Georgia, United States who was diagnosed with the disease in early 2016. Ellis' family, along with her community, has worked to raise awareness of the disease and helped pass "Cove's Law", which provides parents the option to have prenatal screening for the disease, which can, potentially, save the child from the morbidity and mortality of Krabbe disease.


title: Krabbe disease

text: Krabbe disease is found in mice may also be found in cats and in dogs, particularly the West Highland White Terriers and Cairn Terriers.


title: Krabbe disease

text: "This article incorporates public domain text from the United States National Library of Medicine and the National Institute of Neurological Disorders and Stroke."


title: Livestock branding

text: Livestock branding is a technique for marking livestock so as to identify the owner. Originally, livestock branding only referred to hot branding large stock with a branding iron, though the term now includes alternative techniques. Other forms of livestock identification include freeze branding, inner lip or ear tattoos, earmarking, ear tagging, and radio-frequency identification (RFID), which is tagging with a microchip implant. The semi-permanent paint markings used to identify sheep are called a paint or color brand. In the American West, branding evolved into a complex marking system still in use today.


title: Livestock branding

text: The act of marking livestock with fire-heated marks to identify ownership has origins in ancient times, with use dating back to the ancient Egyptians around 2,700 BCE. Among the ancient Romans, the symbols used for brands were sometimes chosen as part of a magic spell aimed at protecting animals from harm.


title: Livestock branding

text: In English lexicon, the word "brand", common to most Germanic languages (from which root also comes "burn", cf. German "Brand" "burning, fire"), originally meant anything hot or burning, such as a "firebrand", a burning stick. By the European Middle Ages, it commonly identified the process of burning a mark into stock animals with thick hides, such as cattle, so as to identify ownership under "animus revertendi". The practice became particularly widespread in nations with large cattle grazing regions, such as Spain.


title: Livestock branding

text: These European customs were imported to the Americas and were further refined by the "vaquero" tradition in what today is the southwestern United States and northern Mexico. In the American West, a "branding iron" consisted of an iron rod with a simple symbol or mark, which cowboys heated in a fire. After the branding iron turned red hot, the cowboy pressed the branding iron against the hide of the cow. The unique brand meant that cattle owned by multiple ranches could then graze freely together on the open range. Cowboys could then separate the cattle at "roundup" time for driving to market. Cattle rustlers using running irons were ingenious in changing brands. The most famous brand change involved the making of the X I T brand into the Star-Cross brand, a star with a cross inside. Brands became so numerous that it became necessary to record them in books that the ranchers could carry in their pockets. Laws were passed requiring the registration of brands, and the inspection of cattle driven through various territories. Penalties were imposed on those who failed to obtain a bill of sale with a list of brands on the animals purchased.


title: Livestock branding

text: From the Americas, many cattle branding traditions and techniques spread to Australia, where a distinct set of traditions and techniques developed. Livestock branding has been practiced in Australia since 1866, but after 1897 owners had to register their brands. These fire and paint brands could not then be duplicated legally.


title: Livestock branding

text: Free-range or open-range grazing is less common today than in the past. However, branding still has its uses. The main purpose is in proving ownership of lost or stolen animals. Many western US states have strict laws regarding brands, including brand registration, and require brand inspections. In many cases, a brand on an animal is considered "prima facie" proof of ownership. (See Brand Book)


title: Livestock branding

text: In the hides and leather industry, brands are treated as a defect, and can diminish the value of hides. This industry has a number of traditional terms relating to the type of brand on a hide. "Colorado branded" (slang "Collie") refers to placement of a brand on the side of an animal, although this does not necessarily indicate the animal is from Colorado. "Butt branded" refers to a hide which has had a brand placed on the portion of the skin covering the rump area of the animal. A "native" hide is one without a brand.


title: Livestock branding

text: Outside of the livestock industry, hot branding was used in 2003 by tortoise researchers to provide a permanent means of unique identification of individual Galapagos tortoises being studied. In this case, the brand was applied to the rear of the tortoises' shells. This technique has since been superseded by implanted PIT microchips (combined with ID numbers painted on the shell).


title: Livestock branding

text: The traditional cowboy or stockman captured and secured an animal for branding by roping it, laying it over on the ground, tying its legs together, and applying a branding iron that had been heated in a fire. Modern ranch practice has moved toward use of chutes where animals can be run into a confined area and safely secured while the brand is applied. Two types of restraint are the cattle crush or squeeze chute (for larger cattle), which may close on either side of a standing animal, or a branding cradle, where calves are caught in a cradle which is rotated so that the animal is lying on its side.


title: Livestock branding

text: Bronco branding is an old method of catching cleanskin (unbranded) cattle on Top End cattle stations for branding in Australia. A heavy horse, usually with some draught horse bloodlines and typically fitted with a harness horse collar, is used to rope the selected calf. The calf is then pulled up to several sloping topped panels and a post constructed for the purpose in the centre of the yard. The unmounted stockmen then apply leg ropes and pull it to the ground to be branded, earmarked and castrated (if a bull) there. With the advent of portable cradles, this method of branding has been mostly phased out on stations. However, there are now quite a few bronco branding competitions at rodeos and campdrafting days, etc.


title: Livestock branding

text: Some ranches still heat branding irons in a wood or coal fire; others use an electric branding iron or electric sources to heat a traditional iron. Gas-fired branding iron heaters are quite popular in Australia, as iron temperatures can be regulated and there is not the heat of a nearby fire. Regardless of heating method, the iron is only applied for the amount of time needed to remove all hair and create a permanent mark. Branding irons are applied for a longer time to cattle than to horses, due to the differing thicknesses of their skins. If a brand is applied too long, it can damage the skin too deeply, thus requiring treatment for potential infection and longer-term healing. Branding wet stock may result in the smudging of the brand. Brand identification may be difficult on long-haired animals, and may necessitate clipping of the area to view the brand.


title: Livestock branding

text: Horses may also be branded on their hooves, but this is not a permanent mark, so needs to be redone about every six months. In the military, some brands indicated the horses' army and squadron numbers. These identification numbers were used on British army horses so dead horses on the battlefield could be identified. The hooves of the dead horses were then removed and returned to the Horse Guards with a request for replacements. This method was used to prevent fraudulent requests for horses. Merino rams and bulls are sometimes firebranded on their horns for permanent individual identification.


title: Livestock branding

text: Some types of identification are not permanent. Temporary branding may be achieved by heat branding so that the hair is burned, but the skin is not damaged. Because this persists only until the animal sheds its hair, it is not considered a properly applied brand. Other temporary, but for a time, persistent marking methods include tagging, and nose printing. Tagging usually uses numbering system as a way to identify animals in a herd. It does this by putting together a letter and number to represent the year born and the birth order, then the tag is either attached to the animal’s ear or to some form of neck collar. Nose printing or use of indelible ink elsewhere on the skin and hair is used at some farms, sales and exhibitions. This method is like fingerprinting: it uses ink and cannot be modified. As hair or skin cells shed, the mark eventually fades.


title: Livestock branding

text: Microchip identification and lip or ear tattooing are generally permanent, though microchips can be removed and tattoos sometimes fade over many years. Microchips are used on many animals, and are particularly popular with horses, as the chip leaves no external marks. Tattooing the inside of the upper lip of horses is required for many racehorses, though in some localities, microchips are beginning to replace tattoos.


title: Livestock branding

text: Temporary branding is particularly common for sheep and goats. Ear marking or tattooing are usually used on goats under eight weeks of age because regular branding would harm them. Techniques similar to these are also used on sheep. Temporary branding on sheep is done with paint, crayons, spray markers, chalk, and much more. These can last for up to several months at a time. The sheep's identification number is painted or sprayed with an indelible but non-toxic paint designed for the purpose onto their sides or back.


title: Livestock branding

text: In stark contrast to traditional hot-iron branding, freeze branding uses an iron that has been chilled with a coolant such as dry ice or liquid nitrogen. Instead of burning a scar into the animal's skin, a freeze brand damages the pigment-producing hair cells, causing the animal's hair to grow back white within the branded area. This white-on-dark pattern is prized by cattle ranchers as its contrast allows some range work to be conducted with binoculars rather than individual visits to every animal. Scientists also value the technique for keeping tabs on studied wildlife without having to approach to read, for example, an ear tag.


title: Livestock branding

text: To apply a freeze brand the hair coat of the animal is first shaved very closely so that bare skin is exposed. Then the frozen iron is pressed to the animal's bare skin for a period of time that varies with both the species of animal and the color of its hair coat. Shorter times are used on dark-colored animals, as this causes follicle melanocyte death and hence permanent pigment loss to the hair when it regrows. Longer times, sometimes as little as five seconds more, are needed for animals with white hair coats. In these cases the brand is applied for long enough to kill the cells of the growth follicle, those that create the hair filaments themselves. This leaves the animal permanently bald in the branded area. The somewhat darker epidermis then contrasts well with a pale animal's coat.


title: Livestock branding

text: Horses are frequently freeze-branded. Neither hogs nor birds can presently be freeze branded successfully, as their hair pigment cells are better protected. Other downsides of freeze branding include its time consuming preparation, greater expense in material and time, low tolerance for sloppy application, long wait until success (sometimes as much as five months) and absence of legal grounding in some American states. When an animal grows a long hair coat the freeze brand is still visible, but its details are not always legible. Thus it is sometimes necessary to shave or closely trim the hair to obtain a sharper view of the freeze brand.


title: Livestock branding

text: Besides livestock, freeze branding can also be used on wild, hairless animals such as dolphins for purposes of tracking individuals. The brand appears as a white mark on their bare skin and can last for decades.


title: Livestock branding

text: Immediately after the freeze branding iron is removed from the skin, an indented outline of the brand will be visible. Within seconds, however, the outline will disappear and within several minutes after that, the brand outline will reappear as swollen, puffy skin. Once the swelling subsides, for a short time, the brand will be difficult or impossible to see, but in a few days, the branded skin will begin to flake, and within three to four weeks, the brand will begin to take on its permanent appearance.


title: Livestock branding

text: In Australia, all Arabian, Part Bred Arabians, Australian Stock Horses, Quarter Horses, Thoroughbreds, must be branded with an owner brand on the near (left) shoulder and an individual foaling drop number (in relation to the other foals) over the foaling year number on the off shoulder. In Queensland, these three brands may be placed on the near shoulder in the above order. Stock Horse and Quarter Horse classification brands are placed on the hindquarters by the classifiers.


title: Livestock branding

text: Thoroughbreds and Standardbreds in Australia and New Zealand are freeze branded. Standardbred brands are in the form of the Alpha Angle Branding System (AABS), which the United States also uses.


title: Livestock branding

text: In the United States, branding of horses is not generally mandated by the government; however, there are a few exceptions: captured Mustangs made available for adoption by the BLM are freeze branded on the neck, usually with the AABS or with numbers, for identification. Horses that test positive for equine infectious anemia, that are quarantined for life rather than euthanized, will be freeze branded for permanent identification. Race horses of any breed are usually required by state racing commissions to have a lip tattoo, to be identified at the track. Some breed associations have, at times, offered freeze branding as either a requirement for registration or simply as an optional benefit to members, and individual horse owners may choose branding as a means by which to permanently identify their animals. As of 2011, the issue of whether to mandate horses be implanted with RFID microchips under the National Animal Identification System generated considerable controversy in the United States.


title: Livestock branding

text: Most brands in the United States include capital letters or numerals, often combined with other symbols such as a slash, circle, half circle, cross, or bar. Brands of this type have a specialized language for "calling" the brand. Some owners prefer to use simple pictures; these brands are called using a short description of the picture (e.g., "rising sun"). Reading a brand aloud is referred to as “calling the brand“. Brands are called from left to right, top to bottom, and when one character encloses another, from outside to inside. Reading of complex brands and picture brands depends at times upon the owner's interpretation, may vary depending upon location, and it may require an expert to identify some of the more complex marks.


title: Livestock branding

text: In general, the following usage of the term "symbol" usually means a capital letter. Uncapitialized letters are not used. Brands are usually “read” top to bottom and left to right. There are regional variations in how brands are read, and deference is given to the terminology preferred by the owner of the brand. Terms used include:


title: Livestock branding

text: Livestock branding causes pain to the animals being branded, seen in behavioural and physiological indicators. Both hot and freeze branding produce thermal injury to the skin, but hot-iron branding creates more inflammation and pain than freeze branding does. Although alternative methods of identification such as ear tags are suggested, the practice of branding is still common worldwide.


title: Livestock branding

text: Standard hot iron branding can take about eight weeks to heal. Use of analgesics helps reduce discomfort. Topical treatments such as cooling gels helps speed healing in pigs, but results are less clear for cattle. Common concerns include how long the animal is restrained, size and location of the brand, and whether analgesics are applied for pain relief. A 2018 study in Sri Lanka, where hot-iron branding is illegal but still widely practiced, concluded that it impairs animal welfare and that there is no real way to improve the procedure. However, this particular study looked at four small dairy farms that used a technique where multiple applications of irons (“drawing”) created large brands extended across the ribs and took at least a full minute to apply and 10 weeks to heal. In contrast, in nations such as the United States and Australia, pre-shaped brands are used to stamp the brand on an animal, applied for 1-5 seconds. Although branding is painful, from a welfare perspective, stamping is preferable over drawing, as less time is needed to apply the brand.


title: Japanese battleship Fusō

text: "Fusō" was modernized in 1930–1935 and again in 1937–1941, with improvements to her armor and propulsion machinery and a rebuilt superstructure in the pagoda mast style. With only guns, she was outclassed by other Japanese battleships at the beginning of World War II, and played auxiliary roles for most of the war.


title: Japanese battleship Fusō

text: "Fusō" was part of Vice-Admiral Shōji Nishimura's Southern Force at the Battle of Leyte Gulf. She was sunk in the early hours of 25 October 1944 by torpedoes and naval gunfire during the Battle of Surigao Strait. Some reports claimed "Fusō" broke in half, and that both halves remained afloat and burning for an hour; according to survivors' accounts, however, the ship sank after 40 minutes of flooding and caught fire when her fuel bunkers spilled open. Of the few dozen crewmen who escaped, only 10 survived to return to Japan.


title: Japanese battleship Fusō

text: The ship had a length of between perpendiculars and overall. She had a beam of and a draft of . "Fusō" displaced at standard load and at full load. Her crew consisted of 1,198 officers and enlisted men in 1915 and 1,396 in 1935. During World War II, the crew probably totalled around 1,800–1,900 men.


title: Japanese battleship Fusō

text: During the ship's first modernization during 1930–1933, her forward superstructure was enlarged with multiple platforms added to her tripod foremast. Her rear superstructure was rebuilt to accommodate mounts for anti-aircraft (AA) guns and additional fire-control directors. "Fusō" was also given torpedo bulges to improve her underwater protection and to compensate for the weight of the additional armor and equipment. During the second phase of her first reconstruction in 1934–1935, "Fusō"s torpedo bulge was enlarged and her stern was lengthened by . These changes increased her overall length to , her beam to and her draft to . Her displacement increased by nearly to at deep load.


title: Japanese battleship Fusō

text: The ship had two sets of Brown-Curtis direct-drive steam turbines, each of which drove two propeller shafts. The turbines were designed to produce a total of , using steam provided by 24 Miyahara-type water-tube boilers, each of which consumed a mixture of coal and oil. "Fusō" had a stowage capacity of of coal and of fuel oil, giving her a range of at a speed of . The ship exceeded her design speed of during her sea trials, reaching at .


title: Japanese battleship Fusō

text: During her first modernization, the Miyahara boilers were replaced by six new Kampon oil-fired boilers fitted in the former aft boiler room, and the forward funnel was removed. The Brown-Curtis turbines were replaced by four geared Kanpon turbines with a designed output of . During her 1933 trials, "Fusō" reached a top speed of from . The fuel storage of the ship was increased to a total of of fuel oil that gave her a range of at a speed of .


title: Japanese battleship Fusō

text: The twelve 45-caliber 14-inch guns of "Fusō" were mounted in six twin-gun turrets, numbered one through six from front to rear, each with an elevation range of −5 to +30 degrees. The turrets were arranged in an uncommon 2-1-1-2 style with superfiring pairs of turrets fore and aft; the middle turrets were not superfiring, and had a funnel between them. The main guns and their turrets were modernized during the ship's 1930 reconstruction; the elevation of the main guns was increased to +43 degrees, increasing their maximum range from . Initially, the guns could fire at a rate of 1.5 rounds per minute, and this was also improved during her first modernization. The orientation of Turret No. 3 was reversed during the modernization; it now faced forward.


title: Japanese battleship Fusō

text: Originally, "Fusō" was fitted with a secondary armament of sixteen 50-caliber six-inch 41st Year Type guns mounted in casemates on the upper sides of the hull. The gun had a maximum range of and fired at a rate of up to six shots per minute. She was fitted with five 40-caliber three-inch (76 mm) AA guns in 1918. The high-angle guns were in single mounts on both sides of the forward superstructure and both sides of the second funnel, as well as on the port side of the aft superstructure. These guns had a maximum elevation of +75 degrees, and could fire a shell at a rate of 13 to 20 rounds per minute to a maximum height of . The ship was also fitted with six submerged torpedo tubes, three on each broadside.


title: Japanese battleship Fusō

text: During the first phase of "Fusō"s modernization of the early 1930s, all five three-inch guns were removed and replaced with eight 40-caliber 127-millimeter dual-purpose guns, fitted on both sides of the fore and aft superstructures in four twin-gun mounts. When firing at surface targets, the guns had a range of ; they had a maximum ceiling of at their maximum elevation of +90 degrees. Their maximum rate of fire was 14 rounds a minute, but their sustained rate of fire was around eight rounds per minute. At this time, the ship was also provided with four quadruple mounts for the license-built Type 93 13.2 mm machine guns, two on the pagoda mast and one on each side of the funnel. The maximum range of these guns was , but the effective range against aircraft was only . The cyclic rate was adjustable between 425 and 475 rounds per minute, but the need to change 30-round magazines reduced the effective rate to 250 rounds per minute.


title: Japanese battleship Fusō

text: The improvements made during the first reconstruction increased "Fusō"s draft by , soaking the two foremost six-inch guns, so they were removed during the first phase of the ship's second modernization in 1937 and 1938. During this same phase, the Type 93 machine guns were replaced by eight 25 mm Type 96 light AA guns in twin-gun mounts. Four of these mounts were fitted on the forward superstructure, one on each side of the funnel and two on the rear superstructure. This was the standard Japanese light AA gun during World War II, but it suffered from severe design shortcomings that rendered it a largely ineffective weapon. According to historian Mark Stille, the twin and triple mounts "lacked sufficient speed in train or elevation; the gun sights were unable to handle fast targets; the gun exhibited excessive vibration; the magazine was too small, and, finally, the gun produced excessive muzzle blast". The configuration of the AA guns varied significantly; in July 1943, 17 single and two twin-mounts were added for a total of 37. In July 1944, the ship was fitted with additional AA guns: 23 single, six twin and eight triple-mounts, for a total of 95 in her final configuration. These guns had an effective range of , and an effective ceiling of at an elevation of +85 degrees. The maximum effective rate of fire was only between 110 and 120 rounds per minute because of the frequent need to change the fifteen-round magazines.


title: Japanese battleship Fusō

text: The ship's waterline armor belt was thick; below it was a strake of armor. The deck armor ranged in thickness from . The turrets were protected with an armor thickness of on the face, on the sides, and on the roof. The barbettes of the turrets were protected by armor 305 mm thick, while the casemates of the 152 mm guns were protected by 152 mm armor plates. The sides of the conning tower were thick. The vessel contained 737 watertight compartments (574 underneath the armor deck, 163 above) to preserve buoyancy in the event of battle damage.


title: Japanese battleship Fusō

text: During her first reconstruction "Fusō"s armor was substantially upgraded. The deck armor was increased to a maximum thickness of . A longitudinal bulkhead of of high-tensile steel was added to improve underwater protection.


title: Japanese battleship Fusō

text: "Fusō" was briefly fitted with an aircraft flying-off platform on Turret No. 2 in 1924. During the first phase of her first modernization, a catapult was fitted on the roof of Turret No. 3 and the ship was equipped to operate three floatplanes, although no hangar was provided. The initial Nakajima E4N2 biplanes were replaced by Nakajima E8N2 biplanes in 1938. "Fusō"s ability to operate her aircraft was greatly improved during the second phase of her second modernization in 1940–41 when the aircraft handling equipment was moved to the stern and a new catapult was installed. Mitsubishi F1M biplanes replaced the E8Ns from 1942 on.


title: Japanese battleship Fusō

text: When completed in 1915, "Fusō" had two and two rangefinders in her forward superstructure, a rangefinder on the roof of Turret No. 2, and 4.5-meter rangefinders in Turrets 3, 4, and 5. In late 1917 a fire-control director was installed on a platform on the foremast. The 4.5-meter rangefinders were replaced by instruments in 1923. During the ship's first modernization, four directors for the 12.7 mm AA guns were added, one each on each side of the fore and aft superstructures, and an eight-meter rangefinder was installed at the top of the pagoda mast. This was replaced by a rangefinder during 1938. At this same time, the two 3.5-meter rangefinders on the forward superstructure were replaced by directors for the 25 mm AA guns. Additional 25 mm directors were installed on platforms on each side of the funnel.


title: Japanese battleship Fusō

text: While in drydock in July 1943, Type 21 air search radar was installed on the roof of the 10-meter rangefinder at the top of the pagoda mast. In August 1944, two Type 22 surface search radar units were installed on the pagoda mast and two Type 13 early warning radar units were fitted on the funnel. "Fusō" was the only Japanese battleship to mount radar on her funnel.


title: Japanese battleship Fusō

text: Given a classical name for Japan, "Fusō" was laid down at the Kure Naval Arsenal on 11 March 1912 and launched on 28 March 1914. She was commissioned on 8 November 1915 and assigned to the 1st Division, of the 1st Fleet on 13 December under the command of Captain Kōzō Satō. The ship did not take part in any combat during World War I, as there were no longer any forces of the Central Powers in Asia by the time she was completed; she patrolled off the coast of China during that time. The ship served as the flagship of the 1st Division during 1917 and 1918. During the ship's period in reserve in 1918, five 76.2 mm anti-aircraft guns were installed. She aided survivors of the Great Kantō earthquake between 9 and 22 September 1923. Captain Mitsumasa Yonai assumed command on 1 July 1924 and was relieved on 1 November by Captain Sankichi Takahashi. In the 1920s, "Fusō" conducted training off the coast of China and was often placed in reserve.


title: Japanese battleship Fusō

text: The first phase of the ship's first modernization began on 12 April 1930 at the Yokosuka Naval Arsenal; machinery was replaced, armor was reinforced, and torpedo bulges were fitted. "Fusō" arrived on 26 September 1932 at Kure Naval Arsenal, where her armament was upgraded and her torpedo tubes were removed. Her sea trials began on 12 May 1933, and the second phase of her modernization began less than a year later. The ship's stern was lengthened and work was completed in March 1935. Captain Jinichi Kusaka was assigned command from November 1935 to December 1936. After sporadic use for training for the next two years, "Fusō" was assigned as a training ship in 1936 and 1937.


title: Japanese battleship Fusō

text: "Fusō" began the first phase of her second modernization on 26 February 1937, and Captain Hiroaki Abe assumed command on 1 December. He was relieved by Captain Ruitaro Fujita on 1 April 1938, the day after this phase of her modernization was completed. The ship was again assigned to the 1st Division of the 1st Fleet on 15 November. She briefly operated in Chinese waters in early 1939 before the second phase of her second modernization began on 12 December 1940. This was completed on 10 April 1941, and "Fusō" was assigned to the 2nd Division of the 1st Fleet. Captain Mitsuo Kinoshita assumed command on 15 September, when the division consisted of the two "Fusō"-class and the two s.


title: Japanese battleship Fusō

text: On 10 April 1941, "Fusō" was assigned to the 2nd Division of the 1st Fleet. When the war started for Japan on 8 December, the division, reinforced by the battleships and and the light carrier , sortied from Hashirajima to the Bonin Islands as distant support for the 1st Air Fleet attacking Pearl Harbor, and returned six days later. On 21 February 1942, the ship returned to the shipyard at Kure to replace her gun barrels, departing on 25 February. Together with the rest of the 2nd Battleship Division, she pursued but did not catch the American carrier force that had launched the Doolittle Raid on 18 April 1942.


title: Japanese battleship Fusō

text: "Fusō" and the rest of the 2nd Battleship Division set sail on 28 May 1942 with the Aleutian Support Group at the same time that most of the Imperial Fleet began an attack on Midway Island (Operation MI). Commanded by Vice-Admiral Shirō Takasu, the division was composed of Japan's four oldest battleships, including "Fusō", accompanied by two light cruisers, 12 destroyers, and two oilers. Official records do not show the division as part of the larger Midway operation, known as Operation AL; they were to accompany the fleet under Admiral Isoroku Yamamoto, but were only to provide support to the Aleutian task force if needed.


title: Japanese battleship Fusō

text: On 14 June, "Fusō" returned to Yokosuka and arrived back at Hashirajima on 24 June. In an effort to replace the aircraft carriers lost at the Battle of Midway, the navy made plans to convert the two "Fusō"-class ships to hybrid battleship-carriers, but the two "Ise"-class battleships were chosen instead. The ship was assigned to the Imperial Japanese Naval Academy at Etajima, Hiroshima, for use as a training ship between 15 November 1942 and 15 January 1943. Captain Keizō Komura assumed command on 5 December, and was relieved by Captain Nobumichi Tsuruoka on 1 June the next year. Seven days later, "Fusō" rescued 353 survivors from "Mutsu" when that ship exploded at Hashirajima.


title: Japanese battleship Fusō

text: Between 18 and 24 July 1943, the ship was at the Kure drydock for fitting of radar and additional 25 mm AA guns. "Fusō" sailed from the Inland Sea on 18 August for Truk Naval Base, carrying supplies, and arrived five days later. The Japanese had intercepted American radio traffic that suggested an attack on Wake Island, and on 17 October, "Fusō" and the bulk of the 1st Fleet sailed for Eniwetok to be in a position to intercept any such attack. The fleet arrived on the 19th, departed four days later, and arrived back at Truk on 26 October.


title: Japanese battleship Fusō

text: On 1 February 1944, "Fusō" departed Truk with "Nagato" to avoid an American air raid, and arrived at Palau on 4 February. They left on 16 February to escape another air raid. The ships arrived on 21 February at Lingga Island, and "Fusō" was employed there as a training ship. A week later, Captain Masami Ban relieved Tsuruoka. The ship was refitted at Singapore between 13 and 27 April, and returned to Lingga. She was transferred to Tawi-Tawi on 11 May and provided cover for the convoy that failed to reinforce Biak Island at the end of the month. "Fusō" transferred to Tarakan Island off Borneo to refuel in early July before returning to Japan and escaping an attack by the submarine . In early August at Kure, she was refitted with additional radars and light AA guns. "Fusō" and her sister ship were transferred to Battleship Division 2 of the 2nd Fleet on 10 September, and "Fusō" became the flagship of the division under the command of Vice-Admiral Shōji Nishimura on 23 September. They departed Kure on 23 September for Lingga, escaping an attack by the submarine the next day, and arrived on 4 October, where Nishimura transferred his flag to "Yamashiro". The ships then transferred to Brunei to refuel in preparation for Operation "Shō-Gō", the attempt to destroy the American fleet conducting the invasion of Leyte.


title: Japanese battleship Fusō

text: Commanded by Rear Admiral Masami Ban, "Fusō" left Brunei at 15:30 on 22 October 1944 as part of Nishimura's Southern Force, heading east into the Sulu Sea and then northeast into the Mindanao Sea. Intending to join Vice-Admiral Takeo Kurita's force in Leyte Gulf, the force passed west of Mindanao Island into Surigao Strait, where it met a large force of battleships and cruisers lying in wait. The Battle of Surigao Strait became the southernmost action in the Battle of Leyte Gulf.


title: Japanese battleship Fusō

text: At 09:08 on 24 October, "Fusō", "Yamashiro", and the heavy cruiser "Mogami" spotted a group of 27 planes, including Grumman TBF Avenger torpedo bombers and Curtiss SB2C Helldiver dive bombers escorted by Grumman F6F Hellcat fighters from the carrier . A bomb from one of them destroyed the catapult and both floatplanes. Another bomb hit the ship near Turret No. 2 and penetrated the decks, killing everyone in No. 1 secondary battery; the ship began to list 2 degrees to starboard. Early the next morning, "Fusō" opened fire around 01:05 after a shape was spotted off the port bow; it turned out to be "Mogami"; "Fusō"s fire killed three sailors in that ship's sick bay.


title: Japanese battleship Fusō

text: One or two torpedoes, possibly fired by the destroyer , hit "Fusō" amidships on the starboard side at 03:09 on the 25th; she listed to starboard, slowed down, and fell out of formation. Some Japanese and American eyewitnesses later claimed "Fusō" broke in half, and that both halves remained afloat and burning for an hour, but they specifically mentioned only the size of the fire on the water, and not any details of the ship. Historian John Toland agreed in 1970 that "Fusō" had broken in two, but according to historian Anthony Tully in 2009:


title: Japanese battleship Fusō

text: "Fusō" sank between 03:38 and 03:50, releasing a large quantity of oil which ignited on the surface as she went down; only a few dozen men survived the rapid sinking and subsequent oil fire. There is evidence that some of these were rescued by the destroyer , which was itself sunk a short time later; it is also possible that some who escaped the sinking reached Leyte only to be killed by Filipinos, as is known to have happened to survivors from other Japanese warships sunk in the Battle of Surigao Strait. Ten crew members are known to have survived, all of whom returned to Japan. The total number of casualties is estimated at 1,620 sailors.


title: Japanese battleship Fusō

text: discovered the wreck of "Fusō" on 25 November 2017. The ship lies upside down in of water and is in one piece on the seabed, with the hull broken amidships from the impact with the bottom. The pagoda mast broke off during the sinking and is some distance away from the wreck.


title: Nisha Katona

text: Nisha Katona, MBE (born 23 October 1971) is a British chef and TV presenter. She is the founder of Mowgli Street Food restaurants and the Mowgli Trust charity, a food writer, television presenter, she was a child protection barrister for 20 years.


title: Nisha Katona

text: Katona worked full-time as a child protection barrister for 20 years on the Northern Circuit. In 2008 the Department of Culture, Media and Sport appointed her trustee of National Museums Liverpool and in 2009 she was appointed by the Cabinet Office, Ambassador for Diversity in Public Appointments. She then switched to teaching about Indian cuisine. She founded Mowgli Street Food restaurants in the UK, and also founded and chairs the Mowgli Trust, which donates over £300,000 to local and world charities every year.


title: Nisha Katona

text: Katona is the author of 4 cookbooks: "Pimp My Rice", "The Spice Tree", "The Mowgli Street Food: Authentic Indian Street Food and The 30-Minute Mowgli". Her fifth book, "Meat Free Mowgli" is due for release on 8 November 2022. She regularly appears on television and radio including the BBC, ITV, Channel 4, Channel 5, Food Network, and Radio 4's The Kitchen Cabinet.


title: Nisha Katona

text: On 1 January 2022, Katona was appointed Chancellor of Liverpool John Moores University. She is the first alumni of the University to become Chancellor and replaces Sir Brian Leveson who will become Emeritus Chancellor.


title: Nisha Katona

text: In July 2021, Katona was selected to join the newly formed Hospitality Council, a team of leading industry experts assembled to deliver the government’s Hospitality Strategy. The strategy aim's to help hospitality firms to re-open, recover and become more resilient following the pandemic.


title: Nisha Katona

text: Nisha grew up in Ormskirk. She studied at Scarisbrick Hall School and then read law at Liverpool John Moores University, where she also met her future husband Zoltán Katona. Nisha qualified as a barrister at the Inns of Court School of Law in 1996, and is a member of Lincoln's Inn.


title: Nisha Katona

text: Katona worked full-time as a Barrister in Liverpool's Chavasse Court Chambers. In 2008 the Department of Culture, Media and Sport appointed her as a trustee of National Museums Liverpool where she sat on the full board, along with Audit and Marketing. In 2009 the Cabinet Office appointed her Ambassador for Diversity in Public Appointments.


title: Nisha Katona

text: Katona films regularly for the BBC, Channel 4, ITV and The Food Network. Appearances have been on Lorraine, Sunday Brunch, Secret Chef, My Kitchen Rules, My Spice Kitchen and her own Indian food travelogue for the BBC Recipes that made me.


title: Nisha Katona

text: She regularly appears as guest chef on This Morning - ITV, guest panelist on The Kitchen Cabinet - BBC Radio 4, and on BBC and Sky News as a guest expert on matters relating to business and hospitality.


title: Nisha Katona

text: On 14 February 2021, a 10-part culinary travel series called A Taste of Italy premiered on Channel 4 and More 4, and presented by Katona.


title: Nisha Katona

text: On 16 March 2021, she was a guest judge on the Interior Design Masters semi-final in which the designers made over a pair of restaurants in Hebden Bridge.


title: Nisha Katona

text: On 13 July 2021, Katona was one of the professional chefs on ITV's Cooking with the Stars. The six part series saw her train her celebrity partner (Harry Judd) in preparing dishes which were then judged. In the final episode Harry Judd was named the winner.


title: Nisha Katona

text: On 10 August 2021, Katona appeared as guest chef on BBC 1's Masterchef, challenging four celebrities to cook an Indian recipe from her menu.


title: Nisha Katona

text: On 6 September 2021, it was announced that Katona will be one of the members of the new judging panel of "Great British Menu" joining former GBM champion Tom Kerridge, and comedian and food podcaster Ed Gamble.


title: Chitrakote Falls

text: The Chitrakote Falls (also spelled Chitrakote, Chitrakot, and Chitrakoot) is a natural waterfall on the Indravati River, located approximately to the west of Jagdalpur, in Bastar district in the Indian state of Chhattisgarh.


title: Chitrakote Falls

text: The height of the falls is about . It is the widest fall in India, reaching a width of nearly during the monsoon season. Because of its width and its widespread horseshoe shape during the monsoon season, it is often called the "Niagara Falls of India".


title: Chitrakote Falls

text: The Chitrakote Falls is located on the Indravati River. The river originates in the Kalahandi district of Odisha, in the Vindhya Range of hills, flows westward, and then forms a fall at Chitrakote, after which it finally flows into the Godavari River at Bhadrakali, after traversing in the state.


title: Chitrakote Falls

text: The free drop of the falls is a sheer height of about . Because of its horseshoe shape, it is often compared with the world-famous Niagara Falls in the United States, and is given the sobriquet "the Small Niagara Falls". During the rainy season, from July to October, rainbows are created with sun rays reflecting on mist from the waterfall.


title: Chitrakote Falls

text: A small Hindu shrine dedicated to the god Shiva and several naturally created grottoes named "Parvati caves" (named after Shiva's wife Parvati) are located on the left bank of the Chitrakote Falls. The river flows sluggishly on the upstream side of the falls due to its meandering nature as it drains through the plains of Jagdalpur. This reach of the river valley has very little forest cover. Below the falls the river traverses the Bodhghat forested area and the river regime undergoes a drastic change in its flow conditions. Aeration processes and the forest in the downstream area filter the silt in the river. The weather in the area is generally pleasant except in the summer season when it is hot due to the absence of shade from vegetation in the area.


title: Chitrakote Falls

text: Chitrakote Falls is one of two waterfalls located near the Kanger Valley National Park, the other being Teerathgarh Falls.


title: Chitrakote Falls

text: The geological formation of the Indravati River valley as it rises and flows downstream consists of quartzitic sandstone and changes to the Archaean granite and gneisses near the Chitrakote Falls. It is one of the six waterfalls in India classified as "geomorphosites" (geoheritage sites with geomorphological interest); this classification is based on research studies of geological features of heritage value existing in different parts of the country. These have been studied and discussed in seminars by geologists, and studies have received the support of international institutions such as the United Nations Educational, Scientific and Cultural Organization (UNESCO), the International Union for Conservation of Nature (IUCN), the International Union of Geological Sciences (IUGS), and the International Association of Geomorphologists (IAG).


title: Chitrakote Falls

text: The Chitrakote Falls, which spreads over three braids during the low-flow season, is a single sheet of flow over a free fall of about , forming a horseshoe-shaped gorge. However, during the monsoon season, when the Indravati River is in flood, the falls cover the entire stretch of the horseshoe from the left to the right bank, a width of about . Though it is about one-third less in width compared to Niagara Falls, its visual splendour has been described as equally impressive. Water flow conditions over the falls vary with the seasons. During the flood season or the monsoon season, the flow is filled with silt. It is India's widest waterfall.


title: Chitrakote Falls

text: Local boat facilities operating below and under the falls in a misty atmosphere provide views of the falls under an early morning sun in reflected sunlight and in a blue hue. On the banks of the pond below the falls, many small Shiva Lingas (aniconic symbols of the god Shiva) are found in several niches, as are iron trishuls (the trident weapon of Shiva), mostly in a rusted state. On the left bank, there is a rock ledge and climbing down this cliff leads to a naturally formed niche which houses stone slabs carved with deities. In addition, there is a small hut made of straw where Shiva images and rusted images of his son, the god Ganesha, are seen. Many local people are involved in fishing in the area.


title: Chitrakote Falls

text: The beauty of the falls can be seen throughout the year, particularly during sunset. As the fast-flowing water of the river flows over the sharp, near-vertical rock exposure at the widest reach of the river, it generates misty clouds and then hits into a pond formed in a semicircular shape at the bottom of the falls. Adventure sports enthusiasts use boats in the stormy part of this pond. Pilgrims bathe in the calmer part of the lake. In the low-flow season, paddle boats are used in pools formed in the upstream part of the falls. In the pool below the falls, swimming and paddle boats are permitted. Local boatmen can paddle their boats under the spray below the falls.


title: Chitrakote Falls

text: Some terrorist activity by Maoists (anti-revisionist) has been reported in the area. In 2008, when then-President of India Pratibha Patil visited Chitrakote Falls, there was a violent attack on a police vehicle which was blown up.


title: Chitrakote Falls

text: The Ministry of Tourism and Development of the Government of India assessed the potential of this site in 2003 as being of a natural "ambiance" suitable for the development of ecotourism. Based on this assessment, plans were drawn up to develop facilities such as local restaurants, nature camping sites, a playground for children, and platforms from which to view the falls, and also to improve the road conditions, fix signs along the road from Jagdalpur to the falls, and generally beautify the site. Environmental conditions in the vicinity of the falls are in a largely preserved state but need attention as ecotourism develops.


title: Chitrakote Falls

text: As of 2010, some infrastructure facilities had improved. There is a government-run hotel at the top of the falls. A series of steps from the garden of the hotel leads to the falls. "Chitrakote log huts" with basic and modern cabins have also been built at the location. Some of the cabins provide good views of the falls. The falls dried up during the summer, from April to June, because water of the Indravati River has been diverted through Jaura Nallah near the Odisha–Chhattisgarh border by the Odisha government. It also includes indiscriminate construction of check dams near the falls. Social activists and environmentalists are making efforts to restore its charms. At present the falls is worth seeing during the rain only.


title: Chitrakote Falls

text: Apart from many large hydroelectric power plants on the Indravati River, a small power plant of 7.5 MW capacity has been planned to utilize the head at the Chitrakote Falls, though no irrigation is envisaged.


title: BMW N74

text: The BMW N74 is a twin-turbo V12 petrol engine which replaced the N73 and has been produced since 2008. It is BMW's first turbocharged V12 engine and is also used in several Rolls-Royce models.


title: BMW N74

text: Compared with its naturally aspirated BMW N73 predecessor, the N74 features twin-turbochargers. The turbochargers are located on the outside of the engine and use a boost pressure of . In its base configuration the engine has a compression ratio of 10:1 and a specific fuel consumption of 245 g·kW·h


title: BMW N74

text: As per its predecessor, the N74 has direct injection, DOHC and variable valve timing (called double-VANOS by BMW). However, the N74 does not have variable valve lift (called Valvetronic by BMW).


title: BMW N74

text: This initial version of the N74 has a bore of and a stroke of . The redline is 7000 rpm and the compression ratio is 10.0:1.


title: BMW N74

text: The N74B66 is an enlarged version of the N74B60, due to a stroke of . The redline is 7000 rpm and the compression ratio is 10.0:1. It produces up to and is used in the Rolls-Royce Ghost.


title: BMW N74

text: The 6.75 litre version was introduced in the 2018 Rolls-Royce Phantom. It is also used in the Rolls-Royce Cullinan and Rolls-Royce Ghost, both of which are built on the same platform as the new Phantom.


title: Crusade of Varna

text: The Crusade of Varna was an unsuccessful military campaign mounted by several European leaders to check the expansion of the Ottoman Empire into Central Europe, specifically the Balkans between 1443 and 1444. It was called by Pope Eugene IV on 1 January 1443 and led by King Władysław III of Poland, John Hunyadi, Voivode of Transylvania, and Duke Philip the Good of Burgundy.


title: Crusade of Varna

text: The Crusade of Varna culminated in a decisive Ottoman victory over the crusader alliance at the Battle of Varna on 10 November 1444, during which Władysław and the expedition's Papal legate Julian Cesarini were killed.


title: Crusade of Varna

text: In 1428, while the Ottoman Empire was fighting a war with the Republic of Venice and the Kingdom of Hungary they achieved a temporary peace by establishing the Serbian Despotate as a buffer state. After the war ended in 1430, the Ottomans returned to their earlier objective of controlling all lands south of the Danube. In 1432, Sultan Murad II began raiding into Transylvania. After King Sigismund died in 1437, the attacks intensified, with the Ottomans occupying Borač in 1438 and Zvornik and Srebrenica in 1439. At the end of 1439, Smederevo capitulated and Murad succeeded in making Serbia an Ottoman province. Đurađ Branković, Despot of Serbia, fled to his estates in Hungary. In 1440, Murad besieged Hungary's main border fortress, Belgrade. After failing to take the fortress, he was forced to return to Anatolia to stop attacks by the Karamanids.


title: Crusade of Varna

text: Meanwhile, Sigismund's successor Albert had died in October 1439, shortly after signing a law to "restore the ancient laws and customs of the realm". The law restricted the royal authority by requiring the participation of landed nobility in political decisions. Four months after Albert's death, his only son Ladislaus the Posthumous was born while Hungary was in the midst of a civil war over the next monarch. On 17 July 1440 Władysław, king of Poland, was crowned despite continuing disputes. John Hunyadi aided Władysław's cause by pacifying the eastern counties, gaining him the position of Nádor of Transylvania and the corresponding responsibility of protecting Hungary's southern border. By the end of 1442, Władysław had secured his status in Hungary, and rejected an Ottoman proposal of peace in exchange for Belgrade.


title: Crusade of Varna

text: The Roman Catholic Church had long been advocating for a crusade against the Ottomans, and with the end of both the Hungarian civil war and a nearly simultaneous one in Byzantium, they were able to begin negotiations and planning realistically. The impetus required to turn the plans into action was provided by Hunyadi between 1441–42. In 1441, he defeated a raid led by Ishak Pasha of Smederevo. He nearly annihilated Mezid Bey's army in Transylvania on 22 March 1442, and in September he defeated the revenge attack of Şihabeddin Pasha, governor-general of Rumelia. Branković, hoping to liberate Serbia, also lent his support after Novo Brdo, the last major Serbian city, fell to the Ottomans in 1441.


title: Crusade of Varna

text: On 1 January 1443 Pope Eugene IV published a crusading bull. In early May, it was reported "that the Turks were in a bad state and that it would be easy to expel them from Europe". War was proclaimed against Sultan Murad II at the diet of Buda on Palm Sunday 1443, and with an army of 40,000 men, mostly Magyars, the young monarch, with Hunyadi commanding under him, crossed the Danube and took Nish and Sofia.


title: Crusade of Varna

text: The crusaders, led by Władysław, Hunyadi, and Branković, attacked in mid-October. They correctly expected that Murad would not be able quickly to mobilize his army, which consisted mainly of fief-holding cavalrymen (timariots) who needed to collect the harvest to pay taxes. Hunyadi's experience of winter campaigns from 1441–42 added to the Hungarians' advantage. They also had better armor, often rendering the Ottoman weapons useless. Murad could not rely on the loyalty of his troops from Rumelia, and had difficulties countering Hungarian tactics.


title: Crusade of Varna

text: In the Battle of Nish the crusaders were victorious and forced Kasim Pasha of Rumelia and his co-commander Turahan Bey to flee to Sofia, Bulgaria to warn Murad of the invasion. However, the two burned all the villages in their path in an attempt to wear down the crusaders with a scorched earth tactic. When they arrived in Sofia, they advised the Sultan to burn the city and retreat to the mountain passes beyond, where the Ottoman's smaller army would not be such a disadvantage.


title: Crusade of Varna

text: Shortly after, bitter cold set in, and the next encounter, fought at Zlatitsa Pass on 12 December 1443, was fought in the snow. Until the Battle of Zlatitsa the crusaders did not meet a major Ottoman army, but only town garrisons along their route toward Adrianople. Finally, at Zlatitsa they met strong and well positioned defence forces of the Ottoman army. The crusaders were defeated.


title: Crusade of Varna

text: As they marched home, however, they ambushed and defeated a pursuing force in the Battle of Kunovica, where Mahmud Bey, son-in-law of the Sultan and brother of the Grand Vizier Çandarlı Halil Pasha, was taken prisoner. Four days after this battle the Christian coalition reached Prokuplje. Branković proposed to Władysław and Hunyadi that they stay in Serbian fortified towns during the winter and continue their campaign against the Ottomans in Spring 1444. They rejected his proposal, and retreated. By the end of January 1444 forces of Władysław and Hunyadi reached Belgrade, and in February they arrived at Buda where they were greeted as heroes.


title: Crusade of Varna

text: While the battle at Zlatitsa Pass had been a defeat, the ambush returned to the crusaders the impression of an overall Christian victory, and they returned triumphant. The King and Church were both anxious to maintain this impression, and gave instructions to spread word of the victories, but contradict anyone who mentioned the loss.


title: Crusade of Varna

text: Murad, meanwhile, returned angry and dejected by the unreliability of his forces, and imprisoned Turahan after blaming him for the army's setbacks and Mahmud Bey's capture.


title: Crusade of Varna

text: Murad is believed to have had the greatest wish for peace. Among other things, his sister begged him to obtain her husband Mahmud's release, and his wife Mara, daughter of Đurađ Branković, added additional pressure. On 6 March 1444 Mara sent an envoy to Branković; their discussion started the peace negotiations with the Ottoman Empire.


title: Crusade of Varna

text: On 24 April 1444 Władysław sent a letter to Murad, stating that his ambassador, Stojka Gisdanić, was travelling to Edirne with full powers to negotiate on his behalf. He asked that, once an agreement was reached, Murad send his own ambassadors with the treaty and his sworn oath to Hungary, at which point Władysław could also swear.


title: Crusade of Varna

text: That same day, Władysław held a Diet at Buda, where he swore before Cardinal Julian Cesarini to lead a new expedition against the Ottomans in the summer. The strongest remaining supporter of Ladislaus the Posthumous' claim for the throne also agreed to a truce, thus removing the danger of another civil war.


title: Crusade of Varna

text: Between June and August 1444, negotiations for a treaty were carried out, first in Edirne, and then in Szeged. The crusaders were not entirely interested in peace, however, especially with Cesarini pushing for the crusade's continuation. The Cardinal eventually found a solution that would allow for both the continuation of fighting and the ratification of the treaty, and on 15 August 1444 the Peace of Szeged was sworn into effect.


title: Crusade of Varna

text: Shortly after all the short-term requirements of the treaty were fulfilled, the Hungarians and their allies resumed the crusade. King Władysław gathered an army composed mostly of Hungarian regular troops, and forces from Poland, Transylvania, Croatia, Bosnia, heavy cavalry units from western Europe, and mercenaries from eastern Europe. The combined armies numbered 16,000, and were joined by 4,000 Wallachian forces in the area of Nicopolis. Murad, who had retired shortly after the treaty was completed, was called back to lead the Ottoman army. On 10 November 1444 the two armies clashed at the Battle of Varna (near the Black Sea fortress of Varna, Bulgaria). The Ottomans won a decisive victory despite heavy losses, while the crusaders lost King Władysław and over 15,000 men.


title: Crusade of Varna

text: Many of the Crusaders were crippled by frostbite, many more died in smaller follow-up battles, and many Europeans were captured. Hungary fell back into civil war until Hunyadi was elected Regent for the infant Ladislaus in June 1446. Branković retained control over Serbia.


title: Crusade of Varna

text: The Ottoman victory in Varna, followed by their victory in the Second Battle of Kosovo in 1448, deterred the European states from sending substantial military assistance to the Byzantines during the Ottoman conquest of Constantinople in 1453. Although Pius II officially declared a three-year crusade at the Council of Mantua to recapture Constantinople from the Ottomans, the leaders who promised 80,000 soldiers to it reneged on their commitment. The Ottoman Empire was free, for several decades, from any further serious attempts to push it out of Europe.


title: Crusade of Varna

text: The end of the Crusade of Varna serves as the starting point for the grand strategy video game "Europa Universalis IV" by Paradox Development Studio, one day after the Battle of Varna, on 11 November 1444.


Baten Kaitos: Eternal Wings and the Lost Ocean is a 2003 role-playing video game developed by Monolith Soft and tri-Crescendo, and published by Namco, for the Nintendo GameCube. In it, the player assume the role of a "guardian spirit" – an unseen player avatar – who guides protagonist Kalas and his party of companions in an adventure across an aerial floating island-based kingdom in the clouds. The game is focused around the concept of "Magnus" - magical cards that capture the "essence" of items found in the in-game world. The concept is used as a plot device, for in-game item management, and as a basis for the card-themed battle system. The game was noted for its unique battle system, which included aspects of turn-based and action-based battle systems, collectible card games, and poker.


title: Baten Kaitos: Eternal Wings and the Lost Ocean

text: Developed specifically for the GameCube due to its lack of JRPGs in its game library, the game was generally well received by critics, but received lukewarm sales. Despite this, a prequel, "Baten Kaitos Origins" was green-lit and released at the end of the GameCube's lifespan, receiving a similar reception itself. Outside of the cancelled "Baten Kaitos DS", no further entries have been announced or released, with the team largely focusing on other projects, like the "Xenoblade Chronicles" games. In the years following, Monolith Soft staff have mentioned the desire to return to the series should the opportunity ever arise.


text: "Baten Kaitos" plays as a Japanese role-playing video game. However, the player does not directly play as the game's protagonist as in most JRPGs, but rather, as a self-named "guardian spirit" that directly interacts with the protagonist through preset text dialogue tree response options. At times, characters will address the player and ask questions, giving the sensation of breaking the fourth wall. Answering questions in a rational manner that mirrors the respective character's mindset strengthens their "bonds", which in turn awards benefits in the game's battle system. Outside of this indirect way of advising and guiding the flow of the game, the game plays as a traditional RPG, with the player directing characters in the exploration of a game world and in combat against opponents in battles.


text: The game's mechanics rely heavily on magical cards known as "Magnus", which absorb the essence of real-world objects for storage and later use, acting as a container for items, as a sense of inventory management. Some objects are already found in their card form, while others are found and needed to extracted into blanks Magnus cards. Over 1,000 different Magnus exist in the game. Magnus are used in a multitude of ways; Magnus containing food or medicine may be used to heal or temporarily invigorate characters, Magnus containing weapons or armor may be equipped to strengthen characters, Magnus containing battle moves may be put into the players deck and used as attacks in battles, and Magnus may be used to interact with non-playable characters to reveal new conversations or complete various quests. Magnus change automatically in real-time as well, for better and worse; a Magnus containing milk that would heal the player may eventually curdle into cheese, which may heal the character even more, or a Magnus containing a ripe banana may turn into a rotten banana, which would in turn hurt the character if consumed. Additionally, a camera Magnus may be used in battle to take photographs of enemies, which can in turn be sold for varying amounts of money, based on picture quality and rarity of image captured.


text: Prior to a battle, the player must assemble a deck of Magnus for each party member to be used during combat, from which random hands are dealt from during battle. Battles are both turn-based and action-based; each character has both an offensive and defensive turn, where they have a brief number of seconds to quickly play a limited number of cards from their pre-build deck. Weapon cards are used to fight with, armor cards to defend with, and effect cards cause different effects, such as healing. Each Magnus has a spirit number in the corner ranging from 1–9; playing same-number groupings or numbers used in gradual succession (1-2-3-4) result in an increased damage effect; cards with multiple numbers allow for the player to select the more beneficial option. Magnus can also be combined during battle, and when certain Magnus are played, special combos are formed that create new Magnus. For example, playing the healing cards cucumber and honey combine to create a much stronger healing effect through the creation of a honey dew melon card. Additionally, character-specific "finishing move" Magnus may be found over the course of the game, their use leading to especially powerful attacks.


text: Experience points are accumulated by winning battles, but may only be applied to a character upon visiting blue flowers across the world, which teleports the party to a church, where one may "pray" to apply the experience points. Doing so allows the player to "level up", leading an increase in the character's primary attributes such as health points, attack strength, or defensive ability, or occasionally "class up" which increases the character's magnus deck capacity.


text: The world of "Baten Kaitos" is centered around magic cards called "Magnus", which allows humanity to store the essence of objects or powers in them for later use. In the ancient times prior to the game's events, an evil god Malpercio invades the planet and sucks all of the water out of the ocean. Legendary heroes eventually seal his power away with the five all-powerful "End Magnus", but the planet itself is left uninhabitable, leaving humanity to migrate and live among the floating continents in the sky. Overtime, this causes humans to evolve and grow wings, allowing for limited flight.


text: The player assumes the role of a player-named, unseen "guardian spirit" who directly communicates with, and guides Kalas, the game's protagonist. Kalas is considered a bit of a hooligan, and an outcast due to only have one wing, with the other being replaced by a mechanical wing. He travels the world to seek revenge for the death of his grandfather and his little brother. Eventually, his priorities shift when he meets and travels with a young woman named Xelha, and accidentally releases one of the five End Magnus, loosening the seal on Malpercio. The two travel to prevent the corrupt Alfard Empire from fully releasing Malpercio again, eventually joining up with Gibari, a laid-back fisherman from a small seaside town, Lyude, the ethical son of a powerful family in the heart of the Alfard Empire, Savyna, a skillful ex-mercenary, and Mizuti, a strange masked creature from unknown origins.


text: Kalas, in his travels to avenge the death of his grandfather and brother, joins Xelha, a good-willed but naive traveler. Together, they inadvertently release the first of the "End Magnus", which is quickly seized by members of the Alfard Empire, a hostile nation on one of the islands. The two chase after them to the Empire's capital, stopping at Diadem along the way, where they meet and team up with Gibari, a fisherman, and Lyude, Diadem's ambassador to the Empire. Upon arrival, they learn there are five End Magnus in total, and the Empire wishes to locate all five of them, which together, will unseal the power of the evil god Malpercio. The party begins an unsuccessful effort to obtain the End Magus to keep them away from the Empire. One is found in Diadem, but is stolen from them immediately. They travel to Anuenue, where they team up with Savyna, an ex-mercenary from the Empire, but are stopped from obtaining an End Magnus by the Empire's emperor, Geldoblame.


text: They travel to Mira, Kalas's home nation, where they meet Mizuti, a strange masked being who joins the group. A temporary arrest for being suspected of kidnapping Miran resident Lady Melodia causes them again to lose the only End Magnus they had obtained there. The group escapes to Alfard to stop Geldoblame, but in the confrontation, it is revealed that Kalas had secretly been working for Melodia all along to find the End Magnus and revive Malpercio for her benefit. Melodia takes control of the Empire from Geldoblame, and his former soldiers drive him to the depths of Alfard's Lava Caves. Kalas absorbs the power of the five End Magnus and falls under Malpercio's control. The other members are captured and imprisoned, though Xelha escapes and frees them. They travel to Wazn, an island covered in snow, where they learn that Xelha is its queen. She obtains the Ocean Mirror, which allows Xelha to restore Kalas's free will. Malpercio and Melodia refuge themselves into Cor Hydrae, an ancient fortress also unsealed by the five End Magnus.


text: Kalas, guilty over his deception, vows to reseal Malpercio. Mizuti directs the group to her homeland, a village in the lands below the Taintclouds, a poisonous layer of gas below the floating islands. They venture down to seek the power of the "Sword of the Heavens" to aid their quest; however, Malpercio and Melodia show up, and the two sides clash. The party is able to ward them off, but the Sword of Heavens is broken in the process. The party then learns of one last hope of stopping Melodia and Malpercio: the Magnus of Life. Kalas learns the truth about his origins; Kalas's scientist grandfather, Georg, under the direction of Emperor Geldoblame, used this power to artificially create life – namely Kalas and his brother, Fee. Geldoblame felt Kalas was too human, and only had one wing, and ordered his death. Georg instead fakes his death by blowing up his laboratory, and secretly flees to Mira with Kalas and Fee. Because he was created by the Magnus of Life, however, Kalas can use its power, though he does not yet know how to tap into it.


text: The party breaks through into Cor Hydrae for a final showdown with Malpercio and Melodia. Malpercio is defeated, Melodia receives free will again, and Kalas, Melodia, and the Guardian Spirit use their powers to release Malpercio's spirit from his body. The energy needed to break the shield around Cor Hydrae drains the energy that allows the five major floating islands to float in the sky, and the islands fall toward the Earth below. However, the planet has now become inhabitable again, and with the help of the five ancient gods, the islands safely fall into place on the planet as continents. While the general population celebrates a bright new future, Xelha privately confides to Kalas that she is an ancient ice queen, and that her death is required in order to restore the oceans of water necessary for humanity to exist again on the planet. A final battle with Geldoblame ensues, and Kalas and Xelha defeat him, but the battle uses the last of Xelha's strength and she dies in Kalas's arms just after confessing her love. All over the world, a rain begins to fall, accumulating into the long-lost ocean. With resolution found, it is deemed time for the "guardian spirit" to leave, with Kalas and the others congregating to say their goodbyes. The guardian spirit sticks around just long enough to see an area boy give Kalas a pendant Xelha had worn throughout the game, saying that he can hear Xelha's voice in it; Kalas puts it up to his ear, and Xelha reappears in a flash of water.


text: The game's developer, Monolith Soft, was initially founded in October 1999 after its founder, Tetsuya Takahashi, left his previous employer, Squaresoft, after the company refused to green-light funding for a second entry of Takahashi's first major project, "Xenogears". Frustrated, Takahashi decided to start his own company, alongside other Squaresoft employees who had previously worked on "Xenogears", "Chrono Trigger", and "Chrono Cross", to further work on the "Xeno" series. Takahashi started the company through funding from Japanese company Namco, leading them into an ownership role. However, unable to directly continue "Xenogears" due to Squaresoft still owning the rights to 'it, the company's main focus became to create Takahashi's spiritual successor, the "Xenosaga" series. Once the company was fully established and staffed, the company decided to start up a secondary project, driven primarily by their younger staff.


text: The game's initial concept was created in 2001, with development beginning six months later. Monolith Soft, at the time only really known for the "Xenosaga" games, clarified after its announcement that while they would be utilizing their development experience from creating said games, the game would not have any actual connection to the "Xenosaga" series. The Nintendo Gamecube was chosen as the game's platform due to the general lack of JRPGs in its game library; the team wanted to offer a "true RPG" for the userbase, and eventually establish it as a franchise for the system. It was named "Baten Kaitos" after the star of the same name in the Cetus constellation; the name was chosen to be symbolic of rich nature and the grand world view the team aimed to depict with the game, and as a "anti-"Xenosaga"" game, which instead a space opera. The game was co-developed by Tri-Crescendo, and was the company's first venture into full-fledged video game development, previously only dealing with music and sound in video games. Both Monolith Soft and Tri-Crescendo had recently sent similar game pitches to Namco, leading Namco to suggest the two companies work together. Tri-Crescendo was primarily responsible for the game's battle system and sound design. Game development approximately consisted of a staff of about 50 people over the course of an 18-month time period, leading to a cumulative 2 years process from inception to finish.


text: The game's story was written by Masato Kato, a prior Squaresoft staff member who had left the company around the same time many of other people had left to form Monolith Soft. He was selected because he having experience working with many team members, such as artist and game design director Yasuyuki Honne, on past projects like "Chrono Cross" and "Xenogears", and for his ability to "write passionate dialogue that doesn't sound weird or embarrassing". Many aspects of the game were set very early on in developments, such as the game's setting of the floating islands and having an action theme to the battle. Smaller details of the game were vastly changed over time; the kingdom of Mira originally was envisioned by Honne as "a weird place" outside of the scope of the main game, for the player to go for unrelated events when "the story events got too heavy", but Kato reworked it into its final state in the game as an integral part of the story. Similarly, while the Alfard Empire always existed in the game, its original form was a very small, desolate island rather than a large powerful nation. The game was primarily developed to have 3D character models moving over 2D hand drawn art for the game's general world, to increase the level of detail that could be shown onscreen with the Gamecube's processing power. Honne wished to experiment with other art styles as well, including an entirely 2D segment with 8-bit graphics. Many experiments ensued, though he couldn't figure out how to do it in a meaningful way until he was able to persuade Namco to allow the use of their "Tower of Druaga" license for the level. Some of the game's sidequests, such as "Quzman's family tree" and the "star map" originated from submissions from the development team after they polled the team for ideas. The team worked with Robot Communications for the opening full motion video (FMV); the game was initially going to have many short videos interspersed throughout the game, but due to budgetary restraints, they decided it would be best to focus on making on large video at the beginning, explaining why the opening video contains so many spoilers upon first viewing.


text: The game was always designed to have six playable characters, 3 playable at a time, and between 40 and 50 key non-playable characters, feeling that anymore than that was taxing on the system's hardware, and made it difficult to programm all the different possibilities that can occur in-game. Honne noted that Kalas was most difficult to design, in balancing his wings, cape, and generally garish clothing, which they felt were necessary for his personality. Xehla initially wore a mini-skirt, but was later changed to pants to better meet the game's Middle Eastern theme and her generally active nature. Lyude was initially intended to be more of a coward, but that aspect of his character was removed, as they had a hard time reconciling that trait with his battle animations. Kato insisted that the character Mizuti speak with a certain accent, to the point that he sat in on her, and only her, voice acting recording sessions. Main characters were generally given a central color in their design, to help identify them from a distance. Early character designs initially had larger, anime-styled eyes, but more realistic eye proportions were eventually given to better meld with the 3D character designs, and to better appeal to Western markets.


text: The soundtrack was composed and arranged by Motoi Sakuraba, with Sakuraba personally performing on every track. Over sixty songs were created for the game. He noted the song's opening theme was particularly difficult to create, as the accompanying video has so many frequently changes and movements that needed to be synced with it. The soundtrack album was published by Team Entertainment on December 17, 2003.


text: The game was generally well received by professional critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the game has an average score of 80 out of 100, which indicates "generally favorable reviews" based on 48 reviews. "Game Informer" praised the game's level of immersion created through the game's graphics and music, stating that ", the world feels alive. The colorful graphics depict storybook settings teeming with movement, complete with swaying leaves and moving clouds. I felt like a child with a picture book, all of the substance and subtlety falling by the wayside in the face of breathtaking environments, slick character designs, and terrifying creatures" and calling the soundtrack "amazing" and "a masterpiece". GameSpot agreed with the notion, stating that it was " a beautiful game with a captivating world, a unique art style and... a great place to go for a nice fairy tale". Game Revolution singled out the game's card-based battle system as a stand-out quality in the game, praising the combination of collectible card games, poker-based moves, and action based combat; concluding that "it becomes quite obvious that the developers put a tremendous amount of time and energy into it. The unique combat is very addictive and a welcome aspect to the RPG genre." IGN similarly praised the game's graphics and battle system, concluding that "Monolith Software has crafted a beautiful and thoroughly engrossing game filled with great characters, impressive visuals and solid combat." "GamePro" praised the freedom given to the player through the game's many side-quests and ability to avoid random battles. Despite the overall praise, "Game Informer" criticized the game's storyline and poor voice acting.


text: "Baten Kaitos" received a runner-up position in "GameSpot"s 2004 "Best Role-playing Game" award category across all platforms, losing to "".


text: While the game was generally well-received critically, it wasn't seen as having sold very well, Publisher Namco had set a sales-goal of 500,000 copies sold worldwide, and initial sales figures fell well-short of it; it had sold only 80,000 copies in Japan after 2 weeks, and only 161,000 copies in North America after its first month and a half on the market. It also sold poorly in comparison to "Tales of Symphonia", Namco's other JRPG released along the same time period for the GameCube; which had sold 290,000 copies in Japan, and 285,000 copies in North America. Namco's senior executive officer Youichi Haraguchi stated that the company feared that the title has not fit well with the Gamecube's userbase at the time. Despite this, the game was still considered to have accumulated a "cult following" in the years following its release.


text: The game was initially created in hopes of making it a franchise, although after its Japanese release, any future releases were described as "undecided" by Monolith Soft. Initially, the only other releases came in the form of two separate novelizations of the game released in Japan; "Baten Kaitos: The Destruction of Truth and the Lie of the Promise" and "Baten Kaitos: Castle of Storms". However, work on a video game followup was eventually green-lit; in September 2005, a direct prequel, "Baten Kaitos Origins", was announced. It was released late in the GameCube's life-cycle in 2006, garnering a similar critical and commercial reception as the original.


text: Prior to "Origins" release, in December 2004, another title, "Baten Kaitos DS", was on Nintendo's list of upcoming games scheduled for their then-upcoming Nintendo DS platform, alongside a "Xenosaga DS". While the "Xenosaga" title was later released as "Xenosaga I & II", the "Baten Kaitos DS" title was never further detailed, and later disappeared from Namco's own list of upcoming games in October 2005. In August 2006, when Monolith Soft's president was questioned about the title, responded that the team was "strongly willing to develop [it]", but that questions on the project needed to be directed to their publisher, Namco. A Namco representative further clarified that "The "Baten Kaitos DS" project has been stopped once. Further development


text: is currently undecided at this point." A month later, Monolith Soft producer Mirohide Sugiura offered a similar response stating that, "The plan for a DS version [was] currently pending, and [they were] awaiting direction from the publisher." The game was not mentioned further by either company outside of a brief listing almost immediately taken down on Namco's Japanese website in 2008, and is generally not believed to be in production.


text: The series has largely lay dormant since the release of "Origins" in 2006. In Nintendo's transition from the Gamecube to the Wii video game hardware in 2006, Monolith Soft stated they had no plan to support the Wii with a "Baten Kaitos" title, instead focusing on other projects, namely what would turn into "" and "Xenoblade Chronicles". Meanwhile, Tri-Crescendo went on to develop and release "Eternal Sonata" in 2007 for the Xbox 360 (and later PlayStation 3), a project company founder Hiroya Hatsushiba stated was only possibly due to the experience of co-developing "Baten Kaitos". Monolith Soft employees would continue to mention the games on occasion. In 2008, producer Tadashi Nomura stated that "We [...] are still willing to start developing a new "Baten Kaitos" when the time is ripe." In 2010, in an interview, Honne spoke fondly of "Baten Kaitos", calling it his favorite game to work on, and then transitioned into a comment about working on a "secret project", in a way that lead some publications to suggest he may be referring to further "Baten Kaitos" entries. In 2014, the "Baten Kaitos Origins" music track "The Valedictory Elegy" appeared in Nintendo's cross over video game "Super Smash Bros. for Wii U". In 2015, developer Kensuke Tsukanaka revealed in an interview that while the game series was considered for inclusion in the cross over video game "Project X Zone", the developers couldn't figure out a way to work it into the game's story. In the same interview, he also stated that while it would be possible to bring back the series, it would require substantial fan feedback encouraging Bandai Namco Entertainment to use the franchise again. The game is mentioned by video game journalists as a game they would desire to be re-released through the Virtual Console for the Nintendo Switch, HD remake or sequel, but as of 2021, no further entries have been released.


title: UK Singles Chart records and statistics

text: The UK Singles Chart was first compiled in 1969. However the records and statistics listed here date back to 1952 because the Official Charts Company counts a selected period of the "New Musical Express" chart (only from 1952 to 1960) and the Record Retailer chart from 1960 to 1969 as predecessors for the period prior to 11 February 1969, where multiples of competing charts coexisted side by side. For example, the BBC compiled its own chart based on an average of the music papers of the time; many songs announced as having reached number one on BBC Radio and "Top of the Pops" prior to 1969 may not be listed here as chart-toppers since they do not meet the legacy criteria of the Charts Company.


title: UK Singles Chart records and statistics

text: The following is a list of all the acts who are on eight or more UK number one songs "with an individual credit" (meaning, the main artist or named separately as a featured artist – being part of a group does "not" count towards an individual's total).


title: UK Singles Chart records and statistics

text: Simply playing or singing on a single without credit will not count, or the top positions would almost certainly belong to session musicians such as Clem Cattini who is reported to have played drums on over 40 number ones.


title: UK Singles Chart records and statistics

text: The record for most non-consecutive weeks at number one is 18 by Frankie Laine's "I Believe" in 1953. It spent nine weeks at number one, dropped down for a week, returned to number one for six weeks, dropped down for a further week and returned to number one for a third time for three weeks.


title: UK Singles Chart records and statistics

text: The longest unbroken run at number one is "(Everything I Do) I Do It for You" by Bryan Adams, which spent 16 consecutive weeks in 1991.


title: UK Singles Chart records and statistics

text: Ed Sheeran is the only artist to ever have multiple songs spend 10 or more weeks at the top of the charts, achieving the feat with both "Shape of You" in 2017 and "Bad Habits" in 2021.


title: UK Singles Chart records and statistics

text: Since the inception of the UK Singles Chart in 1952 only seven acts have replaced themselves at the top of the UK charts with exactly the same billing (as opposed to any named artist, for example 'Cliff Richard and the Shadows' and 'The Shadows' have had back to back number ones on four occasions):


title: UK Singles Chart records and statistics

text: In addition, Ariana Grande is the first female artist to replace herself, and the first artist to replace herself at Number 1 for two consecutive weeks.


title: UK Singles Chart records and statistics

text: The Beatles had 11 consecutive number ones with official releases on Parlophone between 1963 ("From Me To You") and 1966 ("Yellow Submarine" / "Eleanor Rigby"), though releases of archive material from their previous record company also charted during this time.


title: UK Singles Chart records and statistics

text: Spice Girls became the first British music act and girl group to have their first six singles reach number one on the UK singles chart between 1996 and 1997 with "Wannabe" in July, 1996 to "Too Much" in December, 1997.


title: UK Singles Chart records and statistics

text: Westlife became the first music act to have their first seven singles ("Swear It Again", "If I Let You Go", "Flying Without Wings", "I Have a Dream / "Seasons in the Sun", "Fool Again", "Against All Odds" & "My Love") to reach number one from 1999 to 2000. It took Westlife just over 18 months to achieve their first seven number ones, faster than any other music act.


title: UK Singles Chart records and statistics

text: Acts with the most songs to debut at Number 1 on the Official singles chart. Westlife claim the most Number 1 debuts on the Official Singles Chart, with all 14 of their chart-toppers landing there in their first week.


title: UK Singles Chart records and statistics

text: The lowest weekly sale for a number one single is 17,694 copies held by Orson's "No Tomorrow" in 2006.


title: UK Singles Chart records and statistics

text: The addition of downloads to the UK charts meant that singles could reach number one with no physical copy being released. The first single to achieve this was Gnarls Barkley's "Crazy" in early 2006. Since 2014, audio streaming has been included in the calculation of chart position, so it is now possible for a single to reach number one without selling any copies (if it were only available on streaming services). In the week ending 24 September 2015, "What Do You Mean?" by Justin Bieber became the first number one with over half of its chart sales made up of streaming points, with sales of 30,000 and 36,000 points from 3.6 million streams.


title: UK Singles Chart records and statistics

text: Since the incorporation of streaming into the singles chart, the Official Charts Company have continued to compile a sales only chart. In week ending 27 April 2017 "Sign of the Times" by Harry Styles became the first number one in the sales-only chart to sell less than "No Tomorrow" by Orson, with 16,686 copies.


title: UK Singles Chart records and statistics

text: In terms of a song's running length, "All Around the World" by Oasis (1998) at 9 minutes and 38 seconds is the longest song to reach No.1. "What Do You Want?" by Adam Faith at 1 minute 35 seconds (1959) is the shortest.


title: UK Singles Chart records and statistics

text: In addition, in the final week that Justin Bieber was at No. 1 and No. 2 with "Love Yourself" and "Sorry", "What Do You Mean" was at No. 3. For the first three weeks that Ed Sheeran was at No. 1 and No. 2 with "Shape of You" and "Galway Girl", "Castle on the Hill" was at No. 3, and for the first of these three weeks Sheeran's "Perfect", "New Man" and "Happier" were at No. 4, No. 5 and No. 6 respectively.


title: UK Singles Chart records and statistics

text: The fastest selling single in chart history is "Candle in the Wind 1997" by Elton John which sold 1.55 million copies in its first week (it sold 658,000 on the first day of release, 13 September 1997).


title: UK Singles Chart records and statistics

text: The fastest selling debut single is "Anything Is Possible/Evergreen" by Will Young, which sold 1.11 million copies in its first week on sale. Publicity had built up due to the televised talent contest "Pop Idol" with 8.7 million people phoning in to vote for the finalists.


title: UK Singles Chart records and statistics

text: The fastest selling single by a girl group is the Spice Girls "2 Become 1" which sold over 462,000 copies during its first week on sale and over 763,000 copies in a fortnight. In total, the single sold over 1.2 million copies to date.


title: UK Singles Chart records and statistics

text: Artists with references have been updated as the original list was published by the Official Charts Company during 2012. This means that positions on this list may not be 100% accurately reflected as most of the artists are still active and releasing new singles. This includes all singles (solo, duets and as featuring artists) and in all formats (vinyl, cassette, CD, digital). All singles with collaborations are counted several times on the list.


title: UK Singles Chart records and statistics

text: The record is held by Maroon 5 with their 2011 single, "Moves Like Jagger", with 1.55 million copies sold. The song peaked at number two for seven weeks. The record was formerly held by Wham! for their 1984 Christmas release, "Last Christmas" / "Everything She Wants", until it finally charted at the top spot in 2021.


title: UK Singles Chart records and statistics

text: The biggest selling single to peak at number three is New Order's "Blue Monday", which has sold over a million copies. However, it garnered its total sales via two further remixes of the track, meaning its one million sales are attributed over all three releases. The biggest selling "release" to peak at number three is Ed Sheeran's "The A Team", which has sold over 1,067,000 copies since its 2011 release. The biggest selling single never to make the top 5 is "Chasing Cars" by Snow Patrol, which peaked at number 6 and has sold more copies than "The A Team". The biggest selling single not to reach the top 10 is I'm Yours by Jason Mraz with sales over 1.8m and never charted higher than No. 11.


title: UK Singles Chart records and statistics

text: You Make My Dreams by Hall & Oates has never charted in the top 100; despite this, it has over 1 million chart sales, being certified 2× Platinum.


title: UK Singles Chart records and statistics

text: Downloads grew steadily in popularity after first being integrated into the chart in 2005. In early September 2004, the UK Official Download Chart was launched, and a new live recording of Westlife's "Flying Without Wings" was the first number-one. The first number one to chart without ever receiving a UK physical release was Coldplay's "Viva la Vida" in June 2008. As of 2012, very few songs are given a physical release, and almost the entire chart is released solely on digital download.


title: Muxe

text: In Zapotec cultures of Oaxaca (southern Mexico), a muxe (also spelled muxhe; ) is a person assigned male at birth who dresses and behaves in ways otherwise associated with women; they may be seen as a third gender.


title: Muxe

text: The Zapotec word ' is thought to derive from the Spanish word for "woman", '. In the 16th-century, the letter "x" had a sound similar to "sh" (see ).


title: Muxe

text: In contrast to Mexico's majority "mestizo" culture, the Isthmus of Tehuantepec has a predominantly Zapotec population, one of the country's indigenous peoples. It is widely reported that muxe face less hostility there than homosexual, effeminate males, and trans women do elsewhere in Mexico. One study estimates that 6 percent of males in an Isthmus Zapotec community in the early 1970s were muxe. Other Zapotec communities, outside the Isthmus, have similar third gender roles, such as the "biza’ah" of Teotitlán del Valle.


title: Muxe

text: Some marry women and have children while others choose men as sexual or romantic partners. According to anthropologist Lynn Stephen, muxe "may do certain kinds of women’s work such as embroidery or decorating home altars, but others do the male work of making jewelry".


title: Muxe

text: Muxe may be "vestidas" ("dressed", i.e. wearing female clothes) or "pintadas" ("painted", i.e. wearing male clothes and make-up). It has been suggested that while the three-gender system predates Spanish colonization, the phenomenon of muxe dressing as women is fairly recent, beginning in the 1950s and gaining popularity until nearly all of the younger generation of muxe today are "vestidas".


title: Muxe

text: Within contemporary Zapotec culture, reports vary as to their social status. Muxe in village communities may not be disparaged and highly respected, while in larger, more Westernised towns they may face some discrimination, especially from men, due to attitudes introduced by Catholicism. Muxe generally belong to the poorer classes of society. Gender variance and same-sex desire in wealthier communities of the region are more likely to follow a more western taxonomy of gay, bisexual and transgender. Such individuals are also more likely to remain "in the closet". Despite this, muxe have traditionally been considered good luck, and many now have white-collar jobs or are involved in politics.


title: Muxe

text: Anthropologist Beverly Chiñas explained in 1995 that in the Zapotec culture, "the idea of choosing gender or of sexual orientation is as ludicrous as suggesting that one can choose one's skin color." Most people traditionally view their gender as something God has given them (whether man, woman, or muxe), and few muxe desire genital surgery. They generally do not suffer from gender dysphoria.


title: Muxe

text: Lynn Stephen writes: "Muxe men are not referred to as "homosexuals" but constitute a separate category based on gender attributes. People perceive them as having the physical bodies of men but different aesthetic, work, and social skills from most men. They may have some attributes of women or combine those of men and women." If they do choose men as sexual partners, neither are necessarily considered homosexual.


title: Muxe

text: In 2003, 25-year-old Amaranta Gómez Regalado from Juchitán de Zaragoza gained international prominence as a congressional candidate for the México Posible party in the Oaxaca state elections. Her broad platform included calls for the decriminalization of marijuana and abortion.


title: Muxe

text: Lukas Avendaño is an emerging performance artist whose recent work constitutes a queer performatic intervention of Mexican nationalistic representations, particularly that of Zapotec Tehuana women. Avendaño, born on the Isthmus, embodies the complex identity of muxes. His cross-dressing performance interweaves ritual dances with autobiographical passages and actions that involve audience members, in order to challenge the widely-held view of a gay-friendly indigenous culture and point towards the existence of lives that negotiate pain and loneliness with self-affirming pride.


title: Muxe

text: Marven is a food vendor often referred to by her business name "Lady Tacos de Canasta". Her first notable appearance was a viral video taken while she was selling food at Marcha del Orgullo Gay 2016, a Pride parade. Since then, she has grown in popularity and been featured on multiple media outlets. She was featured in Episode 3 of "Taco Chronicles", the 2019 Netflix documentary series, in which she discusses both her business and gender. She was involved in multiple reported incidents with police in February and July 2019.


title: Ezekiel Ansah

text: Ezekiel Nana "Ziggy" Ansah (born May 29, 1989) is a Ghanaian professional American football defensive end who is a free agent. Born in Accra, Ghana, he moved to the United States to attend Brigham Young University, where he played college football for the Brigham Young Cougars. He was drafted by the Detroit Lions fifth overall in the 2013 NFL Draft.