title: Detention (2019 film)

text: Following a boycott of the 56th Golden Horse Awards by Chinese filmmakers, "Detention" received twelve award nominations, the most of any film that year. However, due to the sensitive plot of the story, the film is banned in China, and mention of the film is scrubbed from all mainland Chinese websites. The film is referred to as "xx" in Chinese media's Golden Horse nomination reports. In Hong Kong, the release date was pushed back to December in order to avoid association with the Hong Kong protests happening simultaneously. The film received limited theatrical release on 5 December 2019 in Hong Kong.


title: Detention (2019 film)

text: "Detention" made NT$67.7 million three days after its premiere in Taiwan, becoming the third-highest take of first three-day gross for domestic film, behind the two-part film "" (2011). It is the highest-grossing domestic film of 2019 in Taiwan; it also became one of the top five highest-grossing local films in Taiwan in the last decade. It grossed NT$259,599,005 in Taiwan by December 2019, and a total of () in Taiwan .


title: Detention (2019 film)

text: The film grossed more than HK$11,052,322 at Hong Kong box office, which was a very successful result for a limited theatrical release film. The film grossed US$1,687,554 in Hong Kong and South Korea, for a total of grossed in East Asia.


title: VRL Group

text: VRL Logistics Limited (formerly "Vijayanand Roadlines Ltd."), commonly known as the VRL Group, is an Indian conglomerate headquartered in Hubballi, Karnataka, India with operations in around 23 states and 4 union territories in the country. Business operations of "VRL Group" include road transportation, logistics, publishing etc.


title: VRL Group

text: "VRL Group" is one of the large logistics and transport companies in India (incl.4360 vehicles, comprising 419 tourist buses and 3941 transport goods vehicles). Limca Book of Records, mentioned it as the single largest fleet owner of commercial vehicles in the country's private sector.


title: VRL Group

text: "VRL Group" was founded by Vijay Sankeshwar in 1976 at Gadag, Karnataka, India. His family had a publication house, which later became a part of "VRL Group".


title: VRL Group

text: "VRL" is headquartered in Hubballi, Karnataka and has 931 branches, 40 hubs and transport yards across the country. The headquarters has effluent treatment plant (capacity:175 thousand liters), rainwater harvesting plant, petrol bunk (allotted by Indian Oil Corporation), and a garage service complex, where "VRL’s" trucks passes through in the fleet, once in every two weeks.


title: VRL Group

text: A subsidiary of "VRL Group", VRL General Cargo started its business service as transportation between Hubballi and Gadag, and later has spread across Bengaluru and Belagavi. It has extended into courier services and express cargo, which are now operative in 23 states, handling over 216 million cargos/year, being one of the large networks in the country. Its courier services are operative for parcels ranging from small to large size.


title: VRL Group

text: "VRL's" public tour business is operated by its division Vijayanand Travels. With having more than 80 branches, and operated by 1000+ agents, it is the largest in tour business services in Karnataka and Maharashtra. It owns 1550 buses (incl. 742 Volvo buses of 9400 XL and 9400PX multi-axle models), covering six states, moving across 350 routes in the country.


title: VRL Group

text: VRL Logistics Ltd. in 2008, started working in Indian Air Chartering Industry, operating under the Indian Air Operator permit (for passenger charter). In the first phase of its business, it owned a Beechcraft Premier I, an aircraft, manufactured by Hawker Beechcraft Inc, United States, while in 2013 it purchased another. It offers Jet aircraft charters to sectors like corporate, leisure and tourism, special missions, event management, advertisement agencies and for flights (VIP category).


title: VRL Group

text: "VRL Group's" flagship entity, Vijayavani was started on 1 April 2011, which is now the largest circulated newspaper in Karnataka. "VRL Group's" subsidiary company VRL Media Ltd., prints "Vijayavani" and is published in 9 cities of the state. "Vijayavani’s" lead editor of its editorial division is Chennegowder and Subhash hoogar. Karnataka's second largest circulated newspaper "Vijaya Karnataka", was started by Vijay Sankeshwar (of "VRL Group") in October 2000, and was sold to the Times group on 16 June 2006.


title: House of the Seven Gables

text: The House of the Seven Gables (also known as the Turner House or Turner-Ingersoll Mansion) is a 1668 colonial mansion in Salem, Massachusetts, named for its gables. It was made famous by Nathaniel Hawthorne's 1851 novel "The House of the Seven Gables". The house is now a non-profit museum, with an admission fee charged for tours, as well as an active settlement house with programs for children. It was built for Captain John Turner by Samuel Wardwell and stayed with the family for three generations.


title: House of the Seven Gables

text: The earliest section of the House of the Seven Gables was built in 1668 for Capt. John Turner. It remained in his family for three generations, descending from John Turner II to John Turner III. Facing south towards Salem Harbor, it was originally a two-room, -story house with a projecting front porch and a massive central chimney. This portion now forms the middle of the house. Four windows of the original ground-floor room (which became a dining room) remain in the house's side wall.


title: House of the Seven Gables

text: A few years later, a kitchen lean-to and a new north kitchen ell to the rear of the house were added. By 1676, Turner had added a spacious south (front) extension with its own chimney, containing a parlor on the ground floor, with a large bed chamber above it. Ceilings in this new wing are higher than the very low ceilings in older parts of the house. The new wing featured double casement windows and an overhang with carved pendants; it was capped with a three-gabled garret.


title: House of the Seven Gables

text: In the first half of the 18th century, John Turner II remodeled the house in the new Georgian style, adding wood paneling and sash windows. These alterations are preserved, very early examples of Georgian decor. The House of the Seven Gables is one of the oldest surviving timber-framed mansion houses in continental North America, with 17 rooms and over including its large cellars.


title: House of the Seven Gables

text: After John Turner III lost the family fortune, the house was acquired by the Ingersolls, who remodeled it again. Gables were removed, porches replaced, and Georgian trim added.


title: House of the Seven Gables

text: Nathaniel Hawthorne, a relative of the Ingersolls, was infamous for being reclusive during his time living in Salem, in part because Hawthorne himself exaggerated his reputation. He occasionally played whist, for example, with his sister Louisa, his second cousin Susannah Ingersoll, and Ingersoll's adopted son Horace Connolly. Hawthorne was occasionally entertained in the house by Susannah but, by Hawthorne's time, the house had only three gables after a renovation to match more current architectural trends. His cousin told him the house's history, and showed him beams and mortises in the attic indicating locations of former gables. Hawthorne was more inspired by the way "seven gables" sounded than what the house looked like. As he wrote in a letter, "The expression was new and struck me forcibly... I think I shall make something of it." The idea inspired Hawthorne's novel "The House of the Seven Gables".


title: House of the Seven Gables

text: Hawthorne wrote of the house as if it were a living thing. It is described as such in the novel: "The aspect of the venerable mansion has always affected me like a human countenance... It was itself like a great human heart, with a life of its own, and full of rich and sombre reminisces. The deep projection of the section story gave the house a meditative look, that you could not pass it without the idea that it had secret to keep." In writing the book, Hawthorne compared the process to constructing an actual house. In January 1851, he wrote to his publisher James T. Fields that the book was nearly finished, "only I am hammering away a little on the roof, and doing a few odd jobs that were left incomplete." He sent the finished manuscript to Fields by the end of the month. "The House of the Seven Gables" was published in April 1851.


title: House of the Seven Gables

text: Horace Ingersoll, Susanna's adopted son, told Hawthorne a story of Acadian lovers that later inspired Henry Wadsworth Longfellow's 1847 poem "Evangeline".


title: House of the Seven Gables

text: In 1908, the house was purchased by Caroline O. Emmerton, founder of the House of Seven Gables Settlement Association, and she restored it from 1908 to 1910 as a museum whose admission fees would support the association. Boston architect Joseph Everett Chandler supervised the restoration, which among other alterations reconstructed missing gables. In some cases historical authenticity was sacrificed in the interest of appealing to visitors, who expected the house to match the one Hawthorne described in his romantic novel. Thus, for example, Emmerton added a "cent-shop" resembling that operated by the author's fictional character Hepzibah Pyncheon. A representation of "Maule's Well" was added to the garden.


title: House of the Seven Gables

text: She also added what looks like a wood closet but has a false back. When opened, the back leads to a secret staircase which leads up to the attic.


title: House of the Seven Gables

text: Many interesting features of the original mansion remain, including unusual forms of wall insulation, original beams and rafters, and extensive Georgian paneling.


title: House of the Seven Gables

text: The Nathaniel Hawthorne Birthplace is now immediately adjacent to the House of the Seven Gables, and access to it is granted with the regular admission fee. Although it is indeed the house in which Hawthorne was born and lived to the age of four, the house was sited a few blocks away on Union Street when he inhabited it.


title: House of the Seven Gables

text: In 1994, the Seamans Visitor Center was opened at the historic site. The visitor center was named in honor of the Seamans family; Donald C. Seamans was responsible for the building project when he was president of the House of the Seven Gables Settlement Association.


title: House of the Seven Gables

text: On March 29, 2007, the House of the Seven Gables Historic District was designated a National Historic Landmark District.


title: House of the Seven Gables

text: As of 2022, The House of the Seven Gables opened to the public in April 1910 and has seen millions of visitors since.


title: Christina on the Coast

text: Christina on the Coast is an American home renovation television series featuring Christina Hall, centered around properties in Southern California. In June 2018, HGTV announced that Hall would be receiving her own "Flip or Flop" spin-off series. The series premiere focused on Hall renovating her new home following her divorce; with the remaining seven episodes focusing on her fixing up other people's homes. Filming began in fall 2018, for a spring 2019 premiere. On February 13, 2019, it was announced that the series would premiere on May 23, 2019.


title: Christina on the Coast

text: On November 26, 2019, it was announced that the second season would launch on January 2, 2020. Some episodes of Season 2 were delayed to 2021.


title: Problem (Ariana Grande song)

text: "Problem" is a song by American singer Ariana Grande, featuring Australian rapper Iggy Azalea. It was written by both alongside Savan Kotecha, Ilya and Max Martin, being produced by the latter two with Shellback, with Peter Carlsson serving as a vocal producer. The song was released by Republic Records on April 28, 2014, as the lead single from Grande's second studio album "My Everything" (2014). "Problem" is an uptempo dance-pop and R&B with influences of funk music, which comprises a melody based on drums, saxophone loops, and trumpets. The chorus features uncredited background vocals from American hip hop artist Big Sean. Lyrically, Grande has stated that the song is about "the feeling of being absolutely terrified to re-approach a relationship that's gone sour – but you want to more than anything."


title: Problem (Ariana Grande song)

text: The song debuted at number three on the "Billboard" Hot 100 selling 438,000 copies in its first week on sale, earning Grande her biggest digital song sales week ever. The song later peaked at number two, surpassing "The Way" as her highest-charting single in the United States at the time. It also became Azalea's second-highest-charting single in the US, after her own single "Fancy". "Problem" remained in the top ten of the Hot 100 for the first sixteen weeks of its chart run, making its number three debut on May 7, 2014, and dropping out of the top ten on August 27, 2014. It topped the US Mainstream Top 40 and Rhythmic charts. Internationally, the single debuted at the top of the charts in Ireland, New Zealand, and the United Kingdom, while peaking within the top ten of the charts in most other territories, including Australia, Canada, Mexico, Sweden, Denmark, and Greece. "Problem" became the first song to top the UK Singles chart based on both sales and streaming.


title: Problem (Ariana Grande song)

text: To promote the song, Grande performed it first at the 2014 Radio Disney Music Awards, followed by the 2014 iHeartRadio Music Awards, on "The Ellen DeGeneres Show" and at the 2014 Billboard Music Awards. The song's accompanying music video was directed by Nev Todorovic and premiered on Vevo on May 30, 2014. It won "Best Pop Video" at the 2014 MTV Video Music Awards and has been viewed more than 1.3 billion times as of September 2021. The song itself won "Best Song" at the 2014 MTV Europe Music Awards.


title: Problem (Ariana Grande song)

text: As of 2018, the single has sold 3.7 million copies in the US and has been certified sextuple platinum by the Recording Industry Association of America (RIAA) in March 2016. It ultimately reached combined sales and track-equivalent streams of 9 million units worldwide, becoming one of the best-selling singles of all time.


title: Problem (Ariana Grande song)

text: Following the release of Grande's debut studio album "Yours Truly" in September 2013, which was met with critical acclaim, Grande announced in October 2013 that she had already begun writing and working on her second studio album with previous producers from her debut album, including Harmony Samuels, Babyface, The Rascals and Tommy Brown. Grande was initially aiming at releasing the album around February 2014. In January 2014, recording sessions for the album officially began and Grande confirmed she was working with new producers Ryan Tedder, Savan Kotecha, Benny Blanco and Max Martin. It was announced on March 3, 2014, that Grande would be featured on the fifth single from Chris Brown's upcoming sixth studio album "X" titled "Don't Be Gone Too Long". The single was originally set for release on March 25, 2014, but it was postponed due to Brown being sent to jail awaiting trial on assault charges. Grande announced the song's delay on March 17, 2014, via Twitter, stating "My loves... so obviously some things have changed recently... So we have to delay the dbgtl countdown, some things are out of our control". That same night she held a live stream to make up for the single's delay, where she previewed four new songs from her second album. Two days later, Grande revealed that due to the song's delay, she would be releasing the first single from her upcoming sophomore studio album earlier instead.


title: Problem (Ariana Grande song)

text: Grande and Azalea had originally planned for Azalea to appear on Grande's debut album in September 2013, however, it never panned out. Once Grande began working on "Problem" she thought Azalea would be the perfect fit for the track to create "the perfect girl-power duo" for the song. Azalea agreed to appear on the song and went in with producer Max Martin to write her own verse before recording it for the song. The line "one less problem without you" was inspired by an article from "Cosmopolitan". Big Sean, who is featured in Grande's previous single "Right There", also appears on the song uncredited as a background vocalist in which he provides the whisper-like vocals of the chorus although he is not a featured artist. Initially while recording songs for the album, after Grande had recorded "Problem" she "fell out of love" with the song and didn't want it to appear on her second album. However, following an album listening session with her management and record label, when "Problem" came on Grande said "What the hell is wrong with me? Holy shit!", realizing her love for the song and decided to keep it for the album. Lyrically, the song is about "the feeling of being absolutely terrified to re-approach a relationship that's gone sour – but you want to more than anything."


title: Problem (Ariana Grande song)

text: After recording multiple songs for the album, Grande stated that she had chosen the first single from her album. On April 15, 2014, it was officially announced that "Problem" would be the title of the lead single from the album. Grande later hinted that Australian rapper Iggy Azalea would accompany her on the track. She created online buzz in the weeks leading up to her single's release through social media, first released promotional images from the single's photo shoot all throughout March 2014. On April 10, 2014, Grande asked her fans to choose between two new possible images to be used for the single's artwork release. After the votes were tallied, she revealed the winning cover artwork through her Instagram account the next day with the hashtag #10daystilproblem, and revealed that Iggy Azalea would be assisting her on the track. The winning image, the more seductive image of the pair, shows Grande leaning back in a foldout chair, dressed in a black camisole, white thigh-highs, and metal-tipped stilettos. Grande is also shown flipping through her hair while looking directly into the camera. The song was released at midnight to iTunes on April 28, 2014. The single was made available for pre-order on April 21, 2014. The single made its world radio premiere on "On Air with Ryan Seacrest" on April 28, 2014. A remix of the song was released on May 16, 2014, entitled the "Young California Remix" and features an additional rap verse from American rapper Problem. A Spanglish version of the song was also released featuring Colombian rapper J Balvin for the Hispanophone market, making it the second collaboration between the two artists. On August 11, a remix version by DJ Boss in Drama was released in Brazil featuring Brazilian pop singer Gretchen.


title: Problem (Ariana Grande song)

text: Musically, "Problem" is an uptempo dance-pop and R&B song that incorporates elements of jazz, contemporary '90s R&B, hip hop and funk which comprises the instruments like drums, saxophones and trumpets. It runs for a duration of three minutes and 14 seconds. The song was written by Grande, Azalea, Savan Kotecha, Ilya Salmanzadeh and Max Martin, and produced by the latter two along with Shellback. According to the sheet music published by Alfred Publishing Co., Inc. on Musicnotes.com, "Problem" is composed in the key of G minor and set in common time at a moderate tempo of 103 beats per minute. The melody spans the tonal range of G to G belt and D in falsetto, while the music follows the chord progression of Emaj–F–B– Emaj–F–G♯m.


title: Problem (Ariana Grande song)

text: The track opens with a dose of "jazzy saxophones" before the more modern "horn-heavy" "drum-filled beat drops". The song's melody constantly builds toward something that "should be explosive", before Azalea brings it back down with her verse "Smart money bettin' I'll be better off without you/ In no time I'll be forgettin' all about you/ You sayin' that you know but I really, really doubt you/understand my life is easy when I ain't around you." Azalea also makes a reference to the Jay-Z song "99 Problems" at the end of her verse "There's a million yous baby boo, so don't be dumb/ I got 99 problems but you won't be one." Additionally, Grande's notes serve as a metaphor for what the song is about. She can't get rid of her crush, who she knows isn't good for her and can't help but fall in love quickly. As her "heart gets lighter and lighter", Grande sings "Head in the clouds/ got no weight on my shoulders/ I should be wiser and realize that I've got/ One less problem without you." A writer from "Rap-Up" describes the track as an "infectious horn-heavy jam" which features a "carefree" Ariana "declaring her independence" which also includes "an empowering verse from Iggy Azalea and a whispering Big Sean on the hook." Several critics noted a similarity between the jazzy saxophone breakdown in "Problem" and Jason Derulo's 2013 single "Talk Dirty."


title: Problem (Ariana Grande song)

text: Mike Wass of Idolator described the song as "an odd blend of '90s pop and current urban trends but there's no denying that it's catchy." "Entertainment Weekly" called the song a "dramatic reinvention," and also notes, "The idea that Grande was collaborating with bad girl du jour Iggy Azalea prompted all kinds of speculation, and the result is more or less what everybody expected: Grande's enviable pipes are still the centerpiece, but she also invites a sax-drunk loop, sexy whisper tracks, and Azalea's Jay Z-referencing high-speed verse to the party as well." "Music Times" commented that "the saxophone-filled track continues the pattern set by Grande's 2013 debut album "Yours Truly" by being heavily influenced by the '90s R&B scene. This time, 'Problem' pulls from the funky, funky streets with a jazz-influenced riff. An overwhelming (but welcome) dose of saxophone leads the song before the more modern drum-filled beat drops." In addition, 4Music said "Ariana's sweet-sounding vocals contrast brilliantly with Problem's sexy sax and Iggy's gritty rap."


title: Problem (Ariana Grande song)

text: Pitchfork named it "Best New Track", saying that it "bears all the hallmarks of a future smash, as if the future wasn't actually right now." Writing for MTV, Emilee Lindner praised the song's throwback sound, which Grande admits to striving for, while still keeping it fresh and modern, stating: "The song is so excitingly new but also decidedly so retro... The cranky sax, the whispered chorus, the airy harmonies and Iggy's snarky feature all tied in with a juicy modern beat." Lindner continued by calling it "the freshest pop song of the moment", commending the song's production for its "more than a few unexpected throwbacks", comparing the saxophone loops to Jennifer Lopez's 2004 single "Get Right" saying "It's the same notes over and over, but its attitude doesn't let you zone out", while the whispers in the chorus echoes to the Ying Yang Twins' 2005 single "Wait." In July 2014, "Billboard" listed the song as one of the "10 Best Songs of 2014 (so far)" saying that "the snappy R&B of Ariana Grande's breakout hit 'The Way' feels minimalist compared to the multi-faceted bubblegum of 'Problem'". Meanwhile, Pitchfork named it the 33rd best song of 2014. At the time of the single's release, Problem became Grande's highest-charting song on the Billboard Hot 100, peaking at the number 2 spot.


title: Problem (Ariana Grande song)

text: Upon its release, "Problem" reached the top position on the iTunes singles chart in over 40 countries and the top ten in over 60 countries, including the United States, where it reached the summit in 37 minutes, hence breaking the previous record held by Taylor Swift, whose single, "We Are Never Ever Getting Back Together" (2012), reached the top spot on the iTunes singles chart with a record of 37 minutes, making "Problem" the fastest selling single in digital history. On April 29, 2014, "Billboard" reported that "Problem" would most likely sell more than 300,000 copies by the end of its first week of availability in the United States, as well as that the song could easily debut within the top 10 of the "Billboard" Hot 100 chart regardless of any added airplay or streaming points. In addition to its sales, which accounted for the majority of its debut chart points on the Hot 100, "Problem" began receiving early radio support. The song drew 293 first-day plays on 87 stations on the day of its release, according to Nielsen BDS. Pop Songs reporter KIIS Los Angeles led all stations with 17 first-day plays. Among all stations, "Problem" garnered 3.8 million in opening-day radio audience.


title: Problem (Ariana Grande song)

text: "Problem" officially debuted at number three on the "Billboard" Hot 100 chart on the week ending on May 7, 2014, becoming Grande's second single to debut in the top ten, and her second top ten overall at the time, the other being "The Way". It became the highest debuting song of 2014 at the time, and the highest debuting song since Eminem's "The Monster," featuring Rihanna. "Problem" boasted just 1.3% less points than John Legend's "All of Me", which claimed the Hot 100 top spot. In its second week, "Problem" fell one spot to number four despite gains in airplay and streaming, while Iggy Azalea's "Fancy" replaced it as number three. "Problem" returned to its number three peak the following week before moving to a new peak at number two in its fourth week on the chart; Azalea's "Fancy" moved to the top of both the Digital and Hot 100 charts, boasting 28% more overall chart points than "Problem". "Problem" remained in the runner-up spot the following week, holding that position for five consecutive weeks. The song stayed in the Hot 100's top 10 for the first 16 weeks of its chart run, making its number three debut on May 7, 2014, and dropping out of the top 10 on August 27, 2014.


title: Problem (Ariana Grande song)

text: On "Billboard" Pop Songs, the song debuted at number 28 and reached number 21 in its second week on the chart. It debuted at number 24 on "Billboard" Rhythmic Songs chart, it moved up eight places to number 16 in its second week on the chart and peaked at number one. It eventually reached number one on both the Billboard Pop Songs and Rhythmic Songs charts, becoming Grande's first number one single on both charts. "Problem" just missed the entry into the "Billboard" Radio Songs chart in its first week of availability. It officially entered in at number 30 on the chart, up 70% in audience impressions from 24 million to 41 million. It rocketed 14 spots to number 16 in its second week, granting it the Hot 100's top Airplay Gainer award. It reached the top 10 of the Radio Songs chart at number 10 in its third week on the chart, up 30% in audience impressions from 56 million to 73 million. The song reached a peak of Number 2 in its 7th week and remained there for 3 weeks. In addition to this, the track also debuted on the Streaming Songs chart at number nine in its first week and moved five spots to number four in its second week, with a weekly peak of 4.4 million and 6.5 million, respectively. It has since peaked at number two in its third week on the chart.


title: Problem (Ariana Grande song)

text: "Problem" debuted atop the "Billboard" Hot Digital Songs chart at number one, selling 438,000 copies in its opening week, thus earning Grande the highest first-week sales numbers of 2014 at the time and also her biggest digital song sales week ever, breaking her previous record held by "The Way", which sold 219,000 digital copies for the week ending April 5, 2013. It is Grande's first number one single on that chart. It is the overall 9th biggest debut for a digital song and is the 5th largest by a female artist, behind Taylor Swift's "We Are Never Ever Getting Back Together" (2012), Katy Perry's "Roar" (2013), Swift's "Shake It Off" (2014) and Lady Gaga's "Born This Way" (2011). Further, at 20 years old, Grande became the youngest woman to debut with more than 400,000 downloads. "Problem" also became the highest debut for a collaboration of only female soloists since "Give Me All Your Luvin'" by Madonna, Nicki Minaj and M.I.A. debuted at number 13 on the chart following Madonna's Super Bowl XLVI Halftime Show performance in February 2012. "Problem" spent a second week at number one on the Digital Songs chart with an additional 235,000 units sold, despite a 46% drop. The song topped the chart again in its third week selling 248,000 units, before slipping one spot to number two in its fourth week on the chart, despite a 15% growth of 284,000 units. The song reached its first million sales mark in the United States on May 28, 2014. On May 29, 2014, it was certified platinum by the Recording Industry Association of America, becoming Grande's second song to be certified platinum. As of April 2018, "Problem" has sold 3.7 million copies in the United States.


title: Problem (Ariana Grande song)

text: In Canada, "Problem" debuted at number three on the Canadian Hot 100 on May 17, 2014, becoming her first top 10 single in that country. In its second week on the chart the song dropped 12 places to number 15. In its 3rd week the song rose back to the top 10 at number six. In its fourth week the song rose even higher to number 4. "Problem" was the first song to top the weekly "Billboard" Twitter Top Tracks chart on June 12, 2014.


title: Problem (Ariana Grande song)

text: In the United Kingdom, "Problem" debuted at number one on the UK Singles Chart on July 6, 2014 ― for the week ending date July 12, 2014 ― becoming Grande's fourth charting single and first chart-topper in Britain and Azalea's seventh and first respectively. According to the Official Charts Company, "Problem" made British chart history upon its debut as the first song to top the charts in Britain based on both sales and streaming, with a combined 'chart sales' figure of 113,000. In the Belgian Ultratop 50, "Problem" peaked at number 26 in Flanders and number 40 in Wallonia. It also debuted at number 22 in Switzerland, becoming Grande's first charting single in that country. It also appeared in Netherlands at number 10, in Spain at number 11, in Austria at number 31, in Germany at number 25 and in Brazil at number 87.


title: Problem (Ariana Grande song)

text: In New Zealand, "Problem" made its first chart appearance on the New Zealand Singles Chart on the issue dated May 5, 2014. It debuted at the number-one spot on the chart, becoming the highest debut of the week, making it Grande's first single to top the charts in New Zealand, first top debut and her second top forty single. In its second week on the chart, the song dropped two spots to number three being replaced by the songs featured artist Iggy Azalea, whose single "Fancy" featuring Charli XCX took over the top spot.


title: Problem (Ariana Grande song)

text: In Azalea's native Australia, "Problem" gave Grande her first top 10 hit after it debuted at number four on the Australian Singles Chart, and eventually ascended to number two in its second week on the chart. It stayed in the top two for two consecutive weeks, Grande's previous best effort on the chart was "The Way" which peaked at number 37 in April 2013 and also became her second top 40 effort there. According to the International Federation of the Phonographic Industry (IFPI), "Problem" has achieved global sales of 9 millions of units (combined sales plus streaming data) as of 2015, ranking as the eighth best-selling single of 2014 and making it one of the best-selling singles worldwide.


title: Problem (Ariana Grande song)

text: Grande and Iggy Azalea filmed the lyric video for "Problem" on April 10, 2014, with Jones Crow as the director. Grande assisted Crow in editing the video and completed it on April 13, 2014 and it premiered on Vevo on May 1, 2014. The video features Grande and Azalea performing in a noir black-and-white clip behind pinwheel go-go filters.


title: Problem (Ariana Grande song)

text: The official music video was filmed on April 29, 2014, just one day after the single's release, and was directed by The Young Astronauts who had previously worked with Grande on videos for her singles "Right There" and "Almost Is Never Enough". Kaz James makes an appearance in the video. The video was inspired in "Sweet Charity" (1969), set with a retro style from 1960s art movement containing a black, white, and old-fashioned aesthetic. The video opens on a sparkling figure where Grande appears in a sequined minidress and white go go boots with her dancers backed by a spiral backdrop. Iggy Azalea is shown in front of a colorful background, and, as Jason Lipzshuts from "Billboord" noted, her hairstyle is reminiscent of "Barbarella", while Chima Simone of "E!" compared her hair to Nancy Sinatra's in her "These Boots Are Made for Walkin'" (1966) video. The video contains intercepted scenes of Grande lying atop a giant spiral on a pink floor wearing a white sweater and high socks. Lia Ben from website Bustle compared the scene to Britney Spears's "Oops!... I Did It Again music video (2000).


title: Problem (Ariana Grande song)

text: The video was released on May 30, 2014, and it surpassed 100 million views on July 28, consequently making it Grande's second Vevo-certified music video after "The Way". As of September 2021, the music video has over 1.3 billion views on YouTube. The lyric video was nominated at the 2014 MTV Video Music Awards in the Best Lyric Video category. The official music video was nominated in the Best Collaboration, Best Female Video, and Best Pop Video categories, and it ultimately won the award for Best Pop Video. It was Grande's and Azalea's first time winning a VMA.


title: Problem (Ariana Grande song)

text: "Problem" was first performed by Grande at the 2014 Radio Disney Music Awards on April 26, 2014, which were aired a day later on April 27, 2014. It was later performed at Jeffrey Sanker's annual White Party in Palm Springs. Grande has since also performed "Problem" at the 2014 iHeartRadio Music Awards on May 1, 2014, on "The Ellen DeGeneres Show" on May 6, 2014, and at the Born Free Africa Mother's Day Family Carnival on May 11. Grande has also performed the song at various concerts including the 2014 KIIS-FM's 102.7 Wango Tango annual concert alongside Azalea, for the first time performed with her on May 10, the annual Kiss 108 fm's 2014 Kiss Concert on May 31, 2014, and at the 2014 New York 103.5 KTU concert KTUphoria on June 29, 2014. Grande performed the song at the 2014 Billboard Music Awards alongside Azalea on May 18, 2014. Later, Grande performed on the season 18 finale of "Dancing with the Stars" on May 20, 2014 and at the 2014 MuchMusic Video Awards on June 15. She performed "Problem" at the 2014 iHeartRadio Ultimate Pool Party, and a piano version on the one-day revival of Total Request Live. On August 28, Grande performed the song at the program Today Show and also during a pocket show held at the Honda Stage at the iHeartRadio Theatre in LA. She also performed "Problem" along with "Bang Bang" and "Break Free" on "The X Factor Australia" on September 8, 2014. Still on September 8, Ariana performed the song at the Australian TV Show "Sunrise" along with Break Free. On September 12 she performed a medley version of Problem and Break Free in the Japanese TV Show "Music Station". She also performed "Problem" at the iHeartRadio Music Festival on September 19, 2014. Ariana performed the song along with "Break Free" at the 2014 MTV Europe Music Awards on November 9, 2014. Ariana performed the song along with "Break Free" and "Love Me Harder" at the American Music Awards on November 23, 2014.


title: Problem (Ariana Grande song)

text: The song was also performed at the 2014 Victoria's Secret Fashion Show, which was held at Earls Court in London on December 2, 2014. "Problem" was included on the setlist for Grande's 2015 The Honeymoon Tour as a closing song. In 2017, Grande performed a remixed version of the song during the Dangerous Woman Tour.


title: Problem (Ariana Grande song)

text: In July of the same year, English band Rixton released a cover of "Problem". Idolator wrote they "replaced the brass-heavy original with soulful harmonies, snaps and nasty guitar licks. No Iggy section to be found here, but with lead singer Jake's powerful chops at the forefront, the rap is hardly missed." The a cappella group Pentatonix covered the song on their album "PTX Vol. 3", released on September 23, 2014. "Entertainment Weekly" noted the cover was more "low-key" than the original version. "Billboard" said it was "catchy". On January 9, 2015, "Problem" was covered by Naya Rivera, Heather Morris, Dianna Agron and Kevin McHale in "Homecoming", an episode of "Glee". Kidz Bop sung this in E minor on Kidz Bop 27.


title: Trench knife

text: A trench knife is a combat knife designed to kill or incapacitate an enemy at close quarters, such as in a trench or other confined area. It was developed as a close combat weapon for soldiers attacking enemy trenches during the First World War. An example of a World War I trench knife is the German Army's "Nahkampfmesser" (close combat knife).


title: Trench knife

text: During the Second World War, the trench knife, by this time also called a "combat knife", was developed into new designs. On the German side, the "Nahkampfmesser" and associated knives were widely issued to the ordinary soldier for combat and utility purposes, while Allied armies mostly issued trench knives to elite infantry units and soldiers not equipped with the bayonet.


title: Trench knife

text: With the exception of the German "Nahkampfmesser" or (close combat knife), most early trench knives were fabricated by hand by individual soldiers or blacksmiths for the purpose of silently killing sentries and other soldiers during trench raids. These early "trench knives" were often shortened and sharpened Army-issue bayonets. One type of stabbing weapon, the "French Nail", was made by cutting and pointing the steel stakes used to support the barbed wire protecting trenches. Some historians say that some trench knives models were inspired by the Bowie knife.


title: Trench knife

text: Soon afterwards, these fabricated trench knives were used in defensive close-quarters trench warfare, and such fighting soon revealed limitations in existing designs.


title: Trench knife

text: A more elegant form of the "French Nail" was the "Poignard-Baïonnette Lebel M1886/14". Approved as a standard military infantry weapon after its development by Lieutenant Colonel Coutrot of the French Army, the "Poignard-Baïonnette Lebel" consisted of a long, needle-pointed, stiletto-profile blade with wooden handle and an integrated knuckle guard made of steel. Originally a conversion of the French "Épée-Baïonnette Modèle 1886" (bayonet), and designed strictly as an offensive weapon, the "Poignard-Baïonnette Lebel" used a section of the M1886 Lebel's long, narrow stiletto-type cruciform blade, designed to quickly kill an enemy soldier with a deep thrust. Up to three trench knives could be constructed from a single M1886 Lebel bayonet.


title: Trench knife

text: Because French industry was working under wartime conditions with numerous material shortages, often using subcontracted labor, even officially sanctioned French Army trench knives tend to vary significantly from knife to knife. The need for knives was so great that already-understrength French Army formations were forced to demobilize hundreds of former cutlery workers so that they could return to their former jobs and begin quantity production of trench knives for the armed forces. As the war went on, newer and more versatile blade-type trench knife patterns such as the double-edged dagger "Couteau Poignard Mle 1916 dit Le Vengeur" began to replace the "French Nail" and earlier stiletto-style trench knives. The French lead in trench knife development was closely followed by the United States, which introduced three successive trench knife models - the M1917, M1918, and Mark I (1918) - all based directly or indirectly upon previous French designs.


title: Trench knife

text: The German "Nahkampfmesser" (translated: "close combat knife") was the standard issue German combat knife during the First World War. It remained in service in modified form through the end of the Second World War. Most of these knives had slab wooden grips and metal sheaths and were sturdily made. According to one authoritative source, German-issued trench knives of World War I were "conventional, general-purpose, cut-and-thrust knives" with blades that were "for the most part approximately six inches in length, single-edged with a top leading false edge ... although double-edged blades are occasionally encountered."


title: Trench knife

text: After the "French Nail" was employed against them, German forces on the Western Front also began to employ converted steel barbed-wire stakes as stabbing weapons for use by their own soldiers.


title: Trench knife

text: German trench knives carried during World War II were similar in design and are usually known today as boot knives, although they seldom were carried in boots. Most also had steel sheaths with clips that could be attached to boots, webbing or clothing, and most were made by government contractors and issued as combat gear.


title: Trench knife

text: The British Army and its Commonwealth allies (e.g. Australia, Canada and New Zealand) used a wide variety of trench knives during World War I. Some were commercial models based on Bowie knives. Others were more specialised types, such as push daggers with a roughly cylindrical aluminium grip which was shaped to fit comfortably when the user's hand made a fist. The attached blade protruded between the knuckles of the user. It was common British practice for trench knives to be used in combination with other "quiet" weapons, like trench clubs, pickaxe handles and hatchets, during trench raiding expeditions, backed up with revolvers and hand grenades. Many standardized versions were made by government contractors and officially issued. Most had slab wooden grips and metal sheaths and were sturdily made.


title: Trench knife

text: During the Second World War, the Fairbairn–Sykes fighting knife was widely issued to forces such as the British Commandos, Royal Marines Commandos, Parachute Regiment, Special Boat Service and the Special Air Service. Though not a true "trench knife" per se, the Fairbairn-Sykes was used for similar purposes.


title: Trench knife

text: The first official U.S. trench knife adopted for service issue was the U.S. M1917 trench knife designed by Henry Disston & Sons and based on examples of trench knives then in service with the French Army. The M1917 featured a triangular stiletto blade, wooden grip, metal knuckle guard, and a rounded pommel. The M1917 proved unsatisfactory in service, and a slightly improved version, the M1918, was adopted within months. Despite this, the M1918 is almost identical to the M1917, differing primarily in the construction and appearance of the knuckle guard. Usable only as stabbing weapons, the M1917 and M1918 frequently suffered broken blades. Their limited utility and general unpopularity caused the AEF to empanel a testing board in 1918 to test various trench knives and select a replacement.


title: Trench knife

text: This design was followed by the Mark I, which was designed by a board of U.S. Army officers to remedy certain deficiencies of the M1917/18. Adopted in late 1918, with a blade profile patterned after the French "Couteau Poignard Mle 1916 dit Le Vengeur", most Mark I knives were completed too late to see service in the trenches of World War I.


title: Trench knife

text: During World War II, the Mark I was issued in 1942 and 1943 to airborne troops, Army Rangers, and Marine Raiders. The Mark I featured a full-tang design with a double-edged blade and a heavy bronze hilt incorporating a guard ostensibly shaped as a "knuckle duster", though the latter was intended to protect the fingers and prevent the knife from being knocked from the hand while in combat rather than for use as a weapon. Despite their look, the spikes on the knuckles were also defensive in nature, meant to make it difficult for the enemy to grab the knife in combat Reflecting the savagery of hand-to-hand trench warfare, the Mark I's pommel incorporated a so-called 'skull-crusher' cap extension, ostensibly designed to stun or kill an enemy soldier and to provide a secondary weapon in circumstances where the blade was damaged or broken. A special proprietary metal scabbard was issued with the Mark I, capable of accommodating the new knife and its oversized knuckleduster grip handle.


title: Trench knife

text: In 1918, Captain Rupert Hughes of the U.S. Army submitted a patent application for a specialized automatic-opening trench knife of his own design, the "Hughes Trench Knife". This was a curious device consisting of a folding spring-loaded knife blade attached to a handle which fastened to the back of the hand and was secured by a leather strap, leaving the palm and fingers free for grasping other objects. Pressing a button on the handle automatically extended the blade into an open and locked position, allowing the knife to be used as a stabbing weapon. The "Hughes Trench Knife" was evaluated as a potential military arm by a panel of U.S. Army officers from the American Expeditionary Force (AEF) in June 1918. After testing the board found the "Hughes" design to be of no value, and it was never adopted. Hughes went on to patent his automatic trench knife in 1919, though it appears to have never interested any civilian manufacturers.


title: Trench knife

text: The U.S. Army adopted the M3 fighting knife as a replacement for the Mark I in 1943. The Mark I required strategic metals to produce and was too costly to place into mass production, and had been criticized as being unsuited to more modern styles of hand-to-hand knife fighting. As the U.S. "Catalog of Standard Ordnance Items" of 1943 explained: "The Trench Knife M3 has been developed to fill the need in modern warfare for hand-to-hand fighting. While designated for issue to soldiers not armed with the bayonet, it was especially designed for such shock units as parachute troops and rangers." The M3 was first issued to U.S. Army soldiers in 1943, with the first knives going to elite units such as airborne troops and the U.S. Army Rangers. Despite being designed for hand-to-hand warfare, the M3 did not receive universal praise as a fighting knife upon issue to combat units. While well-balanced (some paratroopers and rangers mastered the art of using the M3 as a throwing knife), the M3's blade was criticized as being too narrow for rough usage, particularly for utility tasks such as opening ammo crates and food tins, while its edge was found to be somewhat difficult to sharpen. The blade's secondary edge was also criticized as being too short, limiting the knife's utility when used for backhand slashing strokes. Many features of the M3 were incorporated into the M4 bayonet for the M1 Carbine, the M5 bayonet for the M1 Garand, the M6 Bayonet for the M14 rifle, and finally the M7 bayonet for the M16 rifle. The M3 knife and all of these bayonets fit in the M8A1 scabbard, officially designated as the "Scabbard, Bayonet Knife, M8A1," with the National Stock Number (NSN) 1095-00-508-0339.


title: Trench knife

text: Other fighting knives used by U.S. forces have sometimes been referred to as trench knives. These include the stiletto-shaped daggers carried by Marine Corps Raiders in World War II, and fighting-utility knives made by KA-BAR and other manufacturers.


title: Pyramidal tracts

text: The pyramidal tracts include both the corticobulbar tract and the corticospinal tract. These are aggregations of efferent nerve fibers from the upper motor neurons that travel from the cerebral cortex and terminate either in the brainstem ("corticobulbar") or spinal cord ("corticospinal") and are involved in the control of motor functions of the body.


title: Pyramidal tracts

text: The corticobulbar tract conducts impulses from the brain to the cranial nerves. These nerves control the muscles of the face and neck and are involved in facial expression, mastication, swallowing, and other motor functions.


title: Pyramidal tracts

text: The corticospinal tract conducts impulses from the brain to the spinal cord. It is made up of a lateral and anterior tract. The corticospinal tract is involved in voluntary movement. The majority of fibres of the corticospinal tract cross over in the medulla oblongata, resulting in muscles being controlled by the opposite side of the brain. The corticospinal tract contains the axons of the pyramidal cells, the largest of which are the Betz cells, located in the cerebral cortex.


title: Pyramidal tracts

text: The pyramidal tracts are named because they pass through the pyramids of the medulla oblongata. The corticospinal fibers converge to a point when descending from the internal capsule to the brain stem from multiple directions, giving the impression of an inverted pyramid. Involvement of the pyramidal tract at any level leads to pyramidal signs.


title: Pyramidal tracts

text: The myelination of the pyramidal fibres is incomplete at birth and gradually progresses in cranio-caudal direction and thereby progressively gaining functionality. Most of the myelination is complete by two years of age and thereafter it progresses very slowly in cranio-caudal direction up to twelve years of age.


title: Pyramidal tracts

text: The term "pyramidal tracts" refers to upper motor neurons that originate in the cerebral cortex and terminate in the spinal cord ("corticospinal") or brainstem ("corticobulbar"). Nerves emerge in the cerebral cortex, pass down and may cross sides in the medulla oblongata, and travel as part of the spinal cord until they synapse with interneurons in the grey column of the spinal cord.


title: Pyramidal tracts

text: There is some variation in terminology. The "pyramidal tracts" definitively encompass the corticospinal tracts, and many authors also include the corticobulbar tracts.


title: Pyramidal tracts

text: Nerve fibres in the corticospinal tract originate from pyramidal cells in layer V of the cerebral cortex. Fibres arise from the primary motor cortex (about 30%), supplementary motor area and the premotor cortex (together also about 30%), and the somatosensory cortex, parietal lobe, and cingulate gyrus supplies the rest. The cells have their bodies in the cerebral cortex, and the axons form the bulk of the pyramidal tracts. The nerve axons travel from the cortex through the posterior limb of internal capsule, through the cerebral peduncle and into the brainstem and anterior medulla oblongata. Here they form two prominences called the medulla oblongatary pyramids. Below the prominences, the majority of axons cross over to the opposite side from which they originated, known as decussation. The axons that cross over move to the outer part of the medulla oblongata and form the lateral corticospinal tract, whereas the fibres that remain form the anterior corticospinal tract. About 80% of axons cross over and form the lateral corticospinal tract; 10% do not cross over and join the tract, and 10% of fibres travel in the anterior corticospinal tract.


title: Pyramidal tracts

text: The nerve axons traveling down the tract are the efferent nerve fibers of the upper motor neurons. These axons travel down the tracts in the white matter of the spinal cord until they reach the vertebral level of the muscle that they will innervate. At this point, the axons synapse with lower motor neurons. The majority of axons do not directly synapse with lower motor neurons, but instead synapse with an interneuron that then synapses with a lower motor neuron. This generally occurs in the anterior grey column. Nerve axons of the lateral corticospinal tract that did not cross over in the medulla oblongata do so at the level of the spinal cord they terminate in.


title: Pyramidal tracts

text: These tracts contain more than 1 million axons and the majority of the axons are myelinated. The corticospinal tracts myelinate largely during the first and second years after birth. The majority of nerve axons are small (<4μm) in diameter. About 3% of nerve axons have a much larger diameter (16μm) and arise from Betz cells, mostly in the leg area of the primary motor cortex. These cells are notable because of their rapid conduction rate, over 70m/sec, the fastest conduction of any signals from the brain to the spinal cord.


title: Pyramidal tracts

text: Fibres from the ventral motor cortex travel with the corticospinal tract through the internal capsule, but terminate in a number of locations in the midbrain (cortico-mesencephalic tract), pons (Corticopontine tract), and medulla oblongata (cortico-bulbar tract). The upper motor neurons of the corticobulbar tract synapse with interneurons or directly with the lower motor neurons located in the motor cranial nerve nuclei, namely oculomotor, trochlear, motor nucleus of the trigeminal nerve, abducens, facial nerve and accessory and in the nucleus ambiguus to the hypoglossal, vagus and accessory nerves. These nuclei are supplied by nerves from both sides of the brain, with the exception of the parts of the facial nerve that control muscles of the lower face. These muscles are only innervated by nerves from the contralateral (opposite) side of the cortex.


title: Pyramidal tracts

text: The nerves within the corticospinal tract are involved in movement of muscles of the body. Because of the crossing-over of fibres, muscles are supplied by the side of the brain opposite to that of the muscle. The nerves within the corticobulbar tract are involved in movement in muscles of the head. They are involved in swallowing, phonation, and movements of the tongue. By virtue of involvement with the facial nerve, the corticobulbar tract is also responsible for transmitting facial expression. With the exception of lower muscles of facial expression, all functions of the corticobulbar tract involve inputs from both sides of the brain.


title: Pyramidal tracts

text: The extrapyramidal system refers to tracts within the spinal cord involved in involuntary movement but not part of the pyramidal tracts. Their functions include the control of posture and muscle tone.


title: Pyramidal tracts

text: In "National Lampoon's European Vacation", the Griswold family wins a vacation on a game show called "Pig in a Poke" when their opponents fail to correctly answer a question about the pyramidal tracts, despite Clark Griswold (played by Chevy Chase) mistakenly answering that they are a housing development outside Cairo.


title: Forrest Goodluck

text: Forrest Goodluck (born August 6, 1998) is an American actor. He is best known for playing Hugh Glass's son Hawk in the 2015 film "The Revenant", and for his supporting role as Adam Red Eagle, a two-spirit teenager sent to a conversion therapy camp, in the 2018 British-American film "The Miseducation of Cameron Post". Goodluck most recently guest-starred in the Netflix miniseries, "The Liberator", which was released on Veterans Day, November 11, 2020.


title: Forrest Goodluck

text: A Native American, Goodluck was born in Albuquerque, New Mexico. His father is Navajo. His mother's ancestry includes Hidatsa, Mandan, Navajo, and Tsimshian.


title: Forrest Goodluck

text: Goodluck's first acting experience was during a sixth grade production of "A Charlie Brown Christmas" at his elementary school: later he performed in stage and theater productions in middle and high school. At age 13, he auditioned for Native American director Chris Eyre's film "Man Called Buffalo", which never made it to production, but did allow him to network with future casting directors.


title: Forrest Goodluck

text: Goodluck auditioned for the part of Hawk in the 2015 film "The Revenant" when he was 15 years old. "The Revenant" was his first feature film role. Goodluck won Best Performance in a Feature Film – Supporting Young Actor (14–21) at the 37th Young Artist Awards for his role as Hawk.


title: Forrest Goodluck

text: In February 2016, he was cast to appear in a pilot for the Hulu drama "Citizen" as Guero, a "wiry graduate of the streets who serves as the charismatic and bipolar leader of a group called 'Baby Narcos. In November 2016, it was announced Goodluck would star opposite Chloë Grace Moretz and Sasha Lane in "The Miseducation of Cameron Post".


title: Canoo

text: Canoo is an American automotive startup based in Bentonville, Arkansas that develops and manufactures electric vehicles, and plans to sell a lifestyle vehicle in the year 2022. The company also plans to produce commercial electric vehicles such as vans for vehicle rental and ride sharing services.


title: Canoo

text: The company has engineering services located at its original headquarters in Torrance, California, near Los Angeles, California. The company has operations in Justin, Texas and its main manufacturing plant is in Pryor, Oklahoma.


title: Canoo

text: In May 2022, it was reported that Canoo was struggling to find funding, the company saying that it had only enough funding to operate for one more quarter.


title: Canoo

text: Canoo was founded in 2017 under the name Evelozcity by Stefan Krause and Ulrich Kranz. Krause worked for Deutsche Bank as its chief financial officer while Kranz worked for BMW as a senior executive. Both men met at rival EV company Faraday Future before leaving together to form their own company in 2017, due to disagreement with Faraday Future's leadership. Krause took on the role of chief executive officer at Evelozcity, and Kranz became chief technology officer. The company received its primary funding from Chinese investor Li "David" Pak-Tam/Botan and German entrepreneur David Stern.


title: Canoo

text: In September 2019, the company presented its first vehicle prototype, the electric van Canoo, which was later renamed to the Canoo Lifestyle Vehicle.


title: Canoo

text: In February 2020, Hyundai Motor Group, the parent company of Hyundai Motors and Kia Motors, announced that the company would partner with Canoo on the joint development of a new electric vehicle platform. The platform would be utilized for compact vehicles and for fleet vehicles such as shuttles. The deal is part of Hyundai's "Strategy 2025" program which will see Hyundai investing US$87 billion for five years starting in 2020.


title: Canoo

text: In July 2020, co-founder Stefan Krause left the company. He had previously taken an extended leave of absence in August 2019 for family reasons. Co-founder Ulrich Kranz assumed the role of permanent CEO upon Krause's departure.


title: Canoo

text: In September 2020, Canoo announced a merger with the special-purpose acquisition company Hennessy Capital Acquisition Corp. IV. (NASDAQ:HCACU.O), intending to list Canoo on the NASDAQ valued at $2.4 billion. The expectation was to raise $300 million to help finance the production of the Canoo minivan, planned for launch in 2022. On December 22, 2020, Canoo completed its merger with Hennessy Capital Acquisition Corp IV. and was listed on the NASDAQ under the ticker symbol (NASDAQ:GOEV).


title: Canoo

text: A few days before its stock exchange debut, the company announced its MPDV (Multi-Purpose Delivery Vehicle) product line. The entry level van was expected to sell for $33,000 on arrival in limited quantities in 2022, ramping up to volume production in 2023.


title: Canoo

text: In mid-January 2021, "The Verge" reported that in the first half of 2020 Canoo had been in talks with Apple for a potential role in its secretive Titan car project.


title: Canoo

text: On March 11, 2021, Canoo announced the Canoo Pickup Truck, an electric pickup truck set to release in 2023. Canoo will offer both single-motor and dual-motor all-wheel drive options for their pick-up truck, with the latter being capable of producing 600 horsepower and 550 foot-pounds of torque. The company said that the truck would have 200+ miles (322 km) of range and a 1,800 pound payload capacity. After the announcement, shares of the company rose by 14%.


title: Canoo

text: It was announced in March 2021 that Canoo had terminated its partnership with Hyundai Motor Group due to a change in corporate strategy. The company also announced that it would shift away from vehicle subscriptions to selling commercial vehicles.


title: Canoo

text: On April 22, 2021, the company announced that co-founder and CEO Ulrich Kranz was stepping down and would be replaced by Chairman Tony Aquila as CEO.


title: Canoo

text: In April 2021, the U.S. Securities and Exchange Commission launched an investigation into Canoo after its merger with Hennessy Capital Acquisition Corp. IV due to a string of executive departures, sudden changes to its business model, and class-action lawsuits brought by shareholders.


title: Canoo

text: On June 17, 2021 the company announced they would build a new factory in Pryor, just outside Tulsa, Oklahoma to manufacture all of their future vehicles. The plant will be used to build "pod-shaped vans it calls 'lifestyle vehicles' beginning in 2023."


title: Canoo

text: The same day, Dutch media reported that the Dutch company VDL Nedcar would start producing Canoo Minivans for the European market. Later in the year, Canoo and VDL ended the manufacturing agreement.


title: Canoo

text: On November 15, 2021, the company announced it would move its headquarters to Bentonville, Arkansas and establish a manufacturing plant there.


title: Canoo

text: In January 2022, Canoo entered into a 10-year $17.7 million lease for a building in Bentonville, Arkansas for an "advanced industrialization facility" to be used for low-volume manufacturing. In August 2022, Canoo disclosed they had contracted with a third party for their initial vehicle production.


title: Canoo

text: Following receipt of orders in October 2022, Canoo announced construction of a vehicle battery production facility at the MidAmerica Industrial Park (MAIP) in Pryor, Oklahoma. This was in addition to its earlier announcement of a vehicle production plant at MAIP capable of producing 300,000 vehicles per year. In late November 2022, Canoo announced expansion in Oklahoma City by purchasing an existing 630,000 square foot plant to start vehicle production by 2023, prior to completion of its megafactory in Pryor.


title: Canoo

text: On April 13, 2022, NASA selected Canoo to supply crew transportation vehicles for its Artemis program, with a total contract value of $147,855.


title: Canoo

text: In May 2022, it was reported that Canoo was struggling to find funding, the company saying that it had only enough funding to operate for one more quarter. It was also revealed around the same time that Canoo was suing investor Pak Tim Li, claiming they were selling shares improperly.


title: Canoo

text: In July 2022, Walmart entered into a definitive agreement to purchase 4,500 all-electric Lifestyle Delivery Vehicles (LDV) from Canoo, with an option to buy up to 10,000 in the future. Under the terms, Walmart can terminate the agreement for convenience upon 30 days notice.


title: Canoo

text: In mid-October 2022, Canoo announced two major orders. Zeeba, a relatively unknown fleet leasing operation, also based in the LA area, ordered a combination of 5,450 LDVs and Lifestyle Vehicles (LV), with a binding commitment of 3,000 by 2024. Some days later, Canoo announced its biggest sale to date, from Kingbee, a Utah-based work-ready van fleet rental company. In addition to the binding order of 9,300 LDVs, Kingbee has the option to double the order. Kingbee outfits its vans for fleet customers in construction trades (electrical, plumbing, energy), delivery, and mobile health.


title: Incunable

text: In the history of printing, an incunable or incunabulum (plural incunables or incunabula, respectively), is a book, pamphlet, or broadside that was printed in the earliest stages of printing in Europe, up to the year 1500. Incunabula were produced before the printing press became widespread on the continent and are distinct from manuscripts, which are documents written by hand. Some authorities include block books from the same time period as incunabula, whereas others limit the term to works printed using movable type.


title: Incunable

text: Incunable is the anglicised form of "incunabulum", reconstructed singular of Latin "incunabula", which meant "swaddling clothes", or "cradle", which could metaphorically refer to "the earliest stages or first traces in the development". A former term for incunable is fifteener, meaning "fifteenth-century edition".


title: Incunable

text: The term "incunabula" was first used in the context of printing by the Dutch physician and humanist Hadrianus Junius (Adriaen de Jonghe, 1511–1575), in a passage in his work "Batavia" (written in 1569; published posthumously in 1588). He referred to a period "" ("in the first infancy of the typographic art"). The term has sometimes been incorrectly attributed to Bernhard von Mallinckrodt (1591–1664), in his Latin pamphlet "De ortu ac progressu artis typographicae" ("On the rise and progress of the typographic art"; 1640), but he was quoting Junius.


title: Incunable

text: The term "incunabula" came to denote printed books themselves in the late 17th century. It is not found in English before the mid-19th century.


title: Incunable

text: Junius set an end-date of 1500 to his era of "incunabula", which remains the convention in modern bibliographical scholarship. This convenient but arbitrary end-date for identifying a printed book as an incunable does not reflect changes in the printing process, and many books printed for some years after 1500 are visually indistinguishable from incunables. The term "post-incunable" is now used to refer to books printed after 1500 up to 1520 or 1540, without general agreement. From around this period the dating of any edition becomes easier, as the practice of printing the place and year of publication using a colophon or on the title page became more widespread.


title: Incunable

text: There are two types of printed incunabula: the block book, printed from a single carved or sculpted wooden block for each page (the same process as the woodcut in art, called "xylographic"); and the "typographic book", made by individual cast-metal movable type pieces on a printing press. Many authors reserve the term "incunabula" for the latter.


title: Incunable

text: The spread of printing to cities both in the North and in Italy ensured that there was great variety in the texts and the styles which appeared. Many early typefaces were modelled on local writing or derived from various European Gothic scripts, but there were also some derived from documentary scripts like Caxton's, and, particularly in Italy, types modelled on handwritten scripts and calligraphy used by humanists.


title: Incunable

text: Printers congregated in urban centres where there were scholars, ecclesiastics, lawyers, and nobles and professionals who formed their major customer base. Standard works in Latin inherited from the medieval tradition formed the bulk of the earliest printed works, but as books became cheaper, vernacular works (or translations into vernaculars of standard works) began to appear.


title: Incunable

text: Famous incunabula include two from Mainz, the Gutenberg Bible of 1455 and the "Peregrinatio in terram sanctam" of 1486, printed and illustrated by Erhard Reuwich; the "Nuremberg Chronicle" written by Hartmann Schedel and printed by Anton Koberger in 1493; and the "Hypnerotomachia Poliphili" printed by Aldus Manutius with important illustrations by an unknown artist.


title: Incunable

text: Other printers of incunabula were Günther Zainer of Augsburg, Johannes Mentelin and Heinrich Eggestein of Strasbourg, Heinrich Gran of Haguenau, William Caxton of Bruges and London, and Nicolas Jenson of Venice. The first incunable to have woodcut illustrations was Ulrich Boner's "Der Edelstein", printed by Albrecht Pfister in Bamberg in 1461.


title: Incunable

text: Many incunabula are undated, needing complex bibliographical analysis to place them correctly. The post-incunabula period marks a time of development during which the printed book evolved fully as a mature artefact with a standard format. After about 1540 books tended to conform to a template that included the author, title-page, date, seller, and place of printing. This makes it much easier to identify any particular edition.


title: Incunable

text: As noted above, the "end date" for identifying a printed book as an incunable is convenient but was chosen arbitrarily; it does not reflect any notable developments in the printing process around the year 1500. Books printed for a number of years after 1500 continued to look much like incunables, with the notable exception of the small format books printed in italic type introduced by Aldus Manutius in 1501. The term post-incunable is sometimes used to refer to books printed "after 1500—how long after, the experts have not yet agreed." For books printed in the UK, the term generally covers 1501–1520, and for books printed in mainland Europe, 1501–1540.


title: Incunable

text: The number of printing towns and cities stands at 282. These are situated in some 18 countries in terms of present-day boundaries. In descending order of the number of editions printed in each, these are: Italy, Germany, France, Netherlands, Switzerland, Spain, Belgium, England, Austria, the Czech Republic, Portugal, Poland, Sweden, Denmark, Turkey, Croatia, Serbia, Montenegro, and Hungary (see diagram).


title: Incunable

text: The following table shows the 20 main 15th century printing locations; as with all data in this section, exact figures are given, but should be treated as close estimates (the total editions recorded in ISTC at May 2013 is 28,395):


title: Incunable

text: The 18 languages that incunabula are printed in, in descending order, are: Latin, German, Italian, French, Dutch, Spanish, English, Hebrew, Catalan, Czech, Greek, Church Slavonic, Portuguese, Swedish, Breton, Danish, Frisian and Sardinian (see diagram).


title: Incunable

text: The "commonest" incunable is Schedel's "Nuremberg Chronicle" ("Liber Chronicarum") of 1493, with about 1,250 surviving copies (which is also the most heavily illustrated). Many incunabula are unique, but on average about 18 copies survive of each. This makes the Gutenberg Bible, at 48 or 49 known copies, a relatively common (though extremely valuable) edition. Counting extant incunabula is complicated by the fact that most libraries consider a single volume of a multi-volume work as a separate item, as well as fragments or copies lacking more than half the total leaves. A complete incunable may consist of a slip, or up to ten volumes.


title: Incunable

text: In terms of format, the 29,000-odd editions comprise: 2,000 broadsides, 9,000 folios, 15,000 quartos, 3,000 octavos, 18 12mos, 230 16mos, 20 32mos, and 3 64mos.


title: Incunable

text: ISTC at present cites 528 extant copies of books printed by Caxton, which together with 128 fragments makes 656 in total, though many are broadsides or very imperfect (incomplete).


title: Incunable

text: Apart from migration to mainly North American and Japanese universities, there has been little movement of incunabula in the last five centuries. None were printed in the Southern Hemisphere, and the latter appears to possess less than 2,000 copies, about 97.75% remain north of the equator. However, many incunabula are sold at auction or through the rare book trade every year.


title: Incunable

text: The British Library's Incunabula Short Title Catalogue now records over 29,000 titles, of which around 27,400 are incunabula editions (not all unique works). Studies of incunabula began in the 17th century. Michel Maittaire (1667–1747) and Georg Wolfgang Panzer (1729–1805) arranged printed material chronologically in annals format, and in the first half of the 19th century, Ludwig Hain published the "Repertorium bibliographicum"— a checklist of incunabula arranged alphabetically by author: "Hain numbers" are still a reference point. Hain was expanded in subsequent editions, by Walter A. Copinger and Dietrich Reichling, but it is being superseded by the authoritative modern listing, a German catalogue, the "Gesamtkatalog der Wiegendrucke", which has been under way since 1925 and is still being compiled at the Staatsbibliothek zu Berlin. North American holdings were listed by Frederick R. Goff and a worldwide union catalogue is provided by the Incunabula Short Title Catalogue.


title: Khokhar

text: Khokhar are a Punjabi community native to Pothohar Plateau of Pakistan, and the adjoining areas of India. Khokhars now predominantly follow Islam, though a minority continue to follow Hinduism. Many Khokhars converted to Islam from Hinduism after coming under the influence of Baba Fariduddin Ganjshakar. The Persian historian of the medieval period, Firishta, has called the then Khokhar people a "barbaric race without religion and morality".


title: Khokhar

text: Muhammad Ghori undertook many campaigns against the Khokhars in Punjab before he was assassinated by the Khokhars at Dhamiak located in the Salt Range in March 1206.


title: Khokhar

text: In 1240 CE, Razia, daughter of Shams-ud-din Iltutmish, and her husband, Altunia, attempted to recapture the throne from her brother, Muizuddin Bahram Shah. She is reported to have led an army composed mostly of mercenaries from the Khokhars of Punjab. From 1246 to 1247, Balban mounted an expedition as far as the Salt Range to eliminate the Khokhars which he saw as a threat.


title: Khokhar

text: Although Lahore was controlled by the government in Delhi in 1251, it remained in ruins for the next twenty years, being attacked multiple times by the Mongols and their Khokhar allies. Around the same time, a Mongol commander named Hulechu occupied Lahore, and forged an alliance with Khokhar chief Gul Khokhar, the erstwhile ally of Muhammad's father.


title: Khokhar

text: In 1320, Ghazi Malik launched an attack with the use of an army of Khokhar tribesmen and killed the then Sultan of Delhi, Khusro Khan to assume power.


title: Khokhar

text: Mustafa Jasrat Khokhar (sometimes "Jasrath" or "Dashrath") was the son of Shaikha Khokhar. He became leader of the Khokhars after the death of Shaikha Khokhar. Later, he returned to Punjab. He supported Shahi Khan in the war for control of Kashmir against Ali Shah of Sayyid dynasty and was later rewarded for his victory. Later, he attempted to conquer Delhi, after the death of Khizr Khan. He succeeded only partially, while winning campaigns at Talwandi and Jullundur, he was hampered by seasonal rains in his attempt to take over Sirhind.


title: Khokhar

text: In reference to the British Raj's recruitment policies in the Punjab Province of colonial India, vis-à-vis the British Indian Army, Tan Tai Yong remarks: In reference to the historical residence of Khokhars at their traditional seat, the Salt Range:


title: Wort

text: Wort () is the liquid extracted from the mashing process during the brewing of beer or whisky. Wort contains the sugars, the most important being maltose and maltotriose, that will be fermented by the brewing yeast to produce alcohol. Wort also contains crucial amino acids to provide nitrogen to the yeast as well as more complex proteins contributing to beer head retention and flavour.


title: Wort

text: The first step in wort production is to obtain malt, which is made from dried, sprouted cereal grains, including barley. The malt is run through a mill, cracking the husk and exposing the starch inside. The milled grain is then mashed by mixing it with hot water, and then steeped, a process that enables enzymes to convert the starch in the malt into sugars which dissolve in the water. Sometimes the mash is heated at set intervals to alter the enzyme activity. The temperature of the mixture is usually increased to 78 °C (172 °F) for mashout. Lautering is the next step, which means the sugar-extracted grist or solids remaining in the mash are separated from the liquid wort. In homebrewing, the use of grain malt (including milling and mashing) can be skipped by adding malt extract to water to make wort.


title: Wort

text: The mixture is then boiled to sanitize the wort and, in the case of most beer production, to extract the bittering, flavour and aroma from hops. In beer making, the wort is known as "sweet wort" until the hops have been added, after which it is called "hopped or bitter wort". The addition of hops is generally done in three parts at set times. The bittering hops, added first, are boiled in the wort for approximately one hour to one and a half hours. This long boil extracts resins, which provides the bittering. Then, the flavouring hops are added, typically 15 minutes from the end of the boil. The finishing hops are added last, toward the end of or after the boil. This extracts the oils, which provide flavour and aroma but evaporate quickly. In general, hops provide the most flavouring when boiled for approximately 15 minutes, and the most aroma when not boiled at all.


title: Wort

text: At the end of boiling, the hot wort is quickly cooled (in homebrewing, often using an immersion chiller) to a temperature favorable to the yeast. Once sufficiently cooled, the wort is transferred to a separate fermentation vessel, oxygenated, and then yeast is added, or "pitched", to begin the fermentation process.


title: Wort

text: The adjunct grains that can be added to the mash include oats, wheat, corn (maize), rye, and rice. Adjunct grains may first need gelatinization and cooling. They are used to create varietal beers such as wheat beer and oatmeal stout, to create grain whisky, or to lighten the body (and cut costs) as in commercial, mass-produced pale lagers.


title: Cruiser tank

text: The cruiser tank (sometimes called cavalry tank or fast tank) was a British tank concept of the interwar period for tanks designed as modernised armoured and mechanised cavalry, as distinguished from infantry tanks. Cruiser tanks were developed after medium tank designs of the 1930s failed to satisfy the Royal Armoured Corps. The cruiser tank concept was conceived by Giffard Le Quesne Martel, who preferred many small light tanks to swarm an opponent, instead of a few expensive and unsatisfactory medium tanks. "Light" cruiser tanks (for example the Cruiser Mk I) carried less armour and were correspondingly faster, whilst "heavy" cruiser tanks (such as the Cruiser Mk II) had more armour and were slightly slower.


title: Cruiser tank

text: The British cruiser tank series started in 1938 with the A9 and A10 cruiser tanks, followed by the A13, A13 Mark II, the A13 Mark III Covenanter in 1940 and the A15 Crusader which entered service in 1941. The Crusader was superseded by the A27 Cromwell in 1944. The A34 Comet, a better-armed development of Cromwell, began to enter service in late 1944. The Centurion tank of 1946 became the "Universal tank" of the United Kingdom, transcending the cruiser and infantry tank roles and becoming one of the first main battle tanks (MBT).


title: Cruiser tank

text: Dissatisfaction with experimental medium tank designs of the mid-1930s led to the development of specialised fast cruiser tanks, where armour thickness was sacrificed for speed and infantry tanks, in which speed was sacrificed for heavier armour. Financial constraints had made it impossible to produce a vehicle suitable for close support and for exploitation. The thinking was behind several tank designs which saw action during the Second World War. British armoured operations theory flowed from the decision to build two types of tank and equip two types of unit and formation. Cruisers were operated by armoured regiments of the Royal Armoured Corps, established on 4 April 1939, in armoured divisions, some regiments coming from the Royal Tank Regiment (RTR) and some from cavalry regiments converted during the war. Infantry tanks went to Army Tank Battalions, sometimes grouped administratively into Army Tank Brigades of the RTR. Small, fast, lightly armed tanks like the Light Tank Mk VI operated as reconnaissance vehicles.


title: Cruiser tank

text: Giffard Le Quesne Martel originated the cruiser concept while Assistant Director and then Deputy Director of Mechanisation at the War Office in the 1930s. Martel considered that medium tanks were too complicated and expensive for infantry support, where they would be too vulnerable to anti-tank weapons and rejected claims that they could fire accurately when moving, so would gain no benefit from their speed. Martel preferred a large number of smaller and simpler tanks to swamp an opponent, instead of a few comparatively expensive medium tanks. Work should continue on a universal tank in the long term but from 1936 to 1939, Martel gave much thought to the infantry tank; he did not want medium tank development to be split but saw the logic of it, given the constraints on tank development. Tanks were necessary for mobile operations in armoured divisions and for infantry support in attacks on fortified defensive positions; a vehicle satisfactory for both tasks appeared to be impossible to attain. Two types of vehicle led to two theories and procedures, infantry tank thinking coming from the experience of tank operations from 1916 to 1918, when British tanks had been used for infantry support. Armoured division theory emphasised the speed of cruiser tanks and independent action to protect flanks, attack the opponent's flanks and rear, to counter-attack and conduct pursuit operations.


title: Cruiser tank

text: Like naval cruisers, cruiser tanks were fast and mobile for operations independent from slower-moving infantry with their heavier infantry tanks and artillery. When gaps had been forced through the opponent's front by the infantry tanks, cruisers were to penetrate to the rear and attack lines of supply and communication centres in accordance with the theories of J.F.C. Fuller, Percy Hobart and Basil Liddell Hart. The cruiser tank was designed for use in a manner similar to cavalry, which made speed the most important factor and to achieve this, early cruisers were lightly armoured and armed to save weight.


title: Cruiser tank

text: The emphasis on speed unbalanced the British designs; on limited engine power, the speed was possible only by sacrificing armour protection (by comparison infantry tanks operating at soldiers' pace could carry far more armour). The idea that "speed is armour" was considered most important in the Royal Tank Corps. It was not realised that the principle of mobility was a liability against the German policy of accepting lower speeds for superior armour and armament, ensuring that even one round from a German medium tank could easily destroy a cruiser.


title: Cruiser tank

text: An even bigger problem for most cruiser tanks was the small calibre of their main gun. The first cruisers were armed with the 2-pounder (40 mm) gun. This gun had adequate armour penetration against early war tanks but was never issued high explosive ammunition. This made the cruisers less able to deal with towed anti-tank guns, which was a serious deficiency at the long ranges of engagements during the Desert Campaign. The additional machine gun turret (as mounted on the Crusader) was no substitute for HE rounds. As the armour of German tanks increased British cruisers were up-gunned with the more powerful 57 mm QF 6-pounder gun, starting with the Crusader Mk. III (an interim move pending the introduction of the next cruiser tank). Early marques of what would become the Cromwell were also fitted with the 6-pdr but this gun still did not have a satisfactory HE round. The Cromwell as planned was to have a High Velocity 75 mm gun but the gun as designed was too large for the turret ring and so it was decided that the new Cromwell tanks would be fitted with the QF 75mm (a bored out 6-pdr design that could take US 75 mm ammunition). The new 75 mm gun providing greater HE capability at the expense of some armour penetration and it was still adequate to deal with the majority of German armoured vehicles. Part of the Cromwell's success was its high-power to weight ratio, provided by the adoption of the Rolls Royce Merlin engine as the Meteor, which delivered sufficient power for the Cromwell to have a maximum speed around on roads. The new powerplant enabled the tank to be far more heavily armoured and armed than previous cruiser designs.


title: Cruiser tank

text: As the Cromwell could not be fitted with the HV 75 mm, work was undertaken to produce a tank for the powerful 17-pdr anti-tank gun, able to take out the heaviest of German vehicles. The Cruiser Mk VIII Challenger was developed, mounting a 17-pdr gun on a lengthened Cromwell hull in a new turret. The Challenger was an unhappy compromise, though it was popular with its crews. The cut in armour protection to allow the mounting of the larger gun meant it was not well suited to closer range engagements and it threw its tracks more often than the Cromwell. As the UK had large numbers of US M4 Sherman tanks, an extemporaneous conversion of the Sherman to take a 17-pounder (as the Sherman Firefly) proved effective in providing more 17-pounder-gun tanks. The Firefly accompanied Churchills, Shermans and Cromwells generally at a ratio of 1:4. The production of Fireflies greatly outpaced that of the Challenger but in Cromwell-equipped units, the Challenger was generally preferred as the Sherman had a slower road speed and inferior cross-country mobility.


title: Cruiser tank

text: The culmination of British efforts was the Comet tank with a cut down 17-pounder design, the 77 mm HV. The Comet was a further development of the Cromwell, a "heavy" cruiser tank, which sought to remove the need for 17-pounder armoured vehicles, such as the Challenger or Firefly. The Comet reduced its road speed in comparison to the Cromwell to , in favour of better armour protection and a weapon able to penetrate the armour of the heavier German tanks whilst not sacrificing HE capability. The tank had a short service life as design for the Centurion was already well underway, with the first prototype arriving in 1945.


title: Cruiser tank

text: Despite the emphasis on high mobility, most cruisers were plagued by mechanical unreliability, notably in the hot and gritty desert of the North Africa Campaign. This problem was usually caused by rushed development and introduction into service. Most of the early cruiser tank designs were ordered "off the drawing board", particularly given the urgent need for tanks following the fall of France. The Liberty engine which also powered early Cruiser tanks was beginning to show its age and was being pushed to its limit in tanks such as the Crusader. This problem was not fully solved until the débût of the Cromwell in 1944, with its powerful and reliable Rolls-Royce Meteor engine.


title: Cruiser tank

text: In 1936, the War Office decided on a light tank for the cavalry, a cruiser tank, a medium tank and an infantry or assault tank. By 1938, the medium tank had stagnated as a research project, in favour of heavier cruiser and infantry tanks and after the outbreak of war, the move towards heavy infantry tanks capable of breaking through the Siegfried Line ("Westwall") on the German border.


title: Cruiser tank

text: In 1934, Sir John Carden of Vickers-Armstrongs had produced a "Woolworth" medium tank to a 1934 specification (General Staff number A.9) for a close support tank, using elements of the Medium Mk III design (which had been abandoned due to financial reasons) but lighter and using a commercial engine to be cheaper. It was accepted as an interim design for limited production as the Cruiser Tank Mark I. It was expected to be replaced by a Christie suspension design. From 1937–1938, 125 A9s were built. The A9 was lightly armoured but capable of and carried a highly-effective 2-pounder anti-tank gun.


title: Cruiser tank

text: The Cruiser Mk II (A10), was designed by Carden as an infantry tank, built to the same design with added armour for of protection. It was insufficiently armoured for the role but as a "heavy cruiser", it was put into production in July 1938 as another interim design. It had the same gun as the A9, was the first to be equipped with the Besa machine gun and 175 Mk IIs were produced by September 1940. Experience with the A9 during the Battle of France in 1940 revealed shortcomings, including inadequate armour and a lack of space for the crew, but it saw useful service in France, the Western desert and Greece in 1941. Orders for the Mk I and Mk II Cruisers were limited, for an advanced and faster cruiser tank which would incorporate Christie suspension designed by J. Walter Christie and have better armour.


title: Cruiser tank

text: In 1936, General Giffard LeQuesne Martel, a pioneer in tank design who had published works on armoured warfare and pioneered the lightly armoured "tankette" concept to enhance infantry mobility, became Assistant Director of Mechanization at the War Office. Later that year, Martel had watched Soviet tanks at the Red Army's autumn manoeuvres including the BT tank, which they had developed from Christie's work. He urged the adoption of a tank that would use the suspension system and also follow the Christie practice of using a lightweight aircraft engine such as the Liberty L-12 engine or a Napier Lion. The government authorised purchase and licensing of a Christie design via the Nuffield Organization.


title: Cruiser tank

text: The tank A13 E1 was rudimentary and too small for British use but the Nuffield suspension was most effective and this became the basis of the Cruiser Mk III (A13). Following testing of two Nuffield-built prototypes (A13E2 and A13E3), the A13 was ordered into production and 65 were manufactured by mid-1939. The Mk III weighed , had a crew of 4, a 340 hp engine which gave a top speed of and was armed with a 2-pounder (40 mm) gun and a machine gun. When it was introduced in 1937, the army still lacked a formal tank division. The trackless element of the Christie suspension was discarded as adding little value for the extra complexity. The Cruiser Mk IV (A13 Mk II) had heavier armour than the Mk III and production started in 1938.


title: Cruiser tank

text: The Tank, Cruiser, Mk VI, (Crusader), was used in large numbers in the Western Desert Campaign. The contemporary Covenanter was unreliable and was retained in the UK for training use. The Cavalier, Centaur and Cromwell tanks were the planned successors to the Covenanter and Crusader. Intended to be in production by 1942, the project was delayed and the Crusader was up-gunned as an interim measure with the Mk.III 6-pounder gun; the Cavalier was a development of Crusader. Centaur and Cromwell tanks were an alternative design using the Cavalier engine and the new Rolls-Royce Meteor respectively - the three vehicles were similar in appearance. Orders for the Cavalier were cut back while the similarity between Centaur and Cromwell meant some Centaurs were finished as Cromwells. The Cavalier was used for training while Centaur and Cromwell tanks went into action at the Invasion of Normandy. The Comet tank entered service in north-west Europe in 1945 but neither the Cromwell or Comet tanks were in sufficient numbers to replace American tanks in the British Army.


title: Cruiser tank

text: During the war, the development of much more powerful engines and better suspension enabled cruiser tanks to increase in size, armour and firepower while retaining their speed and mobility. With "cruiser" tanks similarly armoured to heavier, slower, infantry tanks, the convergence of cruisers and infantry tank designs made the distinction obsolete. The Centurion tank was designed as a heavy cruiser, by combining the mobility of a cruiser tank and armour of an Infantry tank. The Centurion transcended its cruiser tank origins and became the first modern British main battle tank.


title: Cruiser tank

text: In the 1930s, the Czechoslovak Army divided its tank into three categories, light tanks - cavalry, light tanks - infantry and medium tanks. The cavalry category was analogical to cruiser-tank concept. The cruiser-tank concept was also employed by Canada, and Soviet Union in the 1930s, as exemplified by the BT tank series (, [fast tank]).


title: Ombré

text: Ombré (literally "shaded" in French) is the blending of one color hue to another, usually moving tints and shades from light to dark. It has become a popular feature for hair coloring, nail art, and even baking, in addition to its uses in home decorating and graphic design.


title: Ombré

text: Using shading or creating an "ombré" effect is ubiquitous. For instance in fabric printing, a special printing block, called a "rainbowed" block, was used in the early 19th century to produce textiles with graduated color designs. "Ombré" as a textile treatment came back into fashion in around 1840 and was used throughout the 19th century. In machine embroidery, an "ombré" effect was achieved by dyeing the threads in graded colors beforehand.


title: Ombré

text: “Ombré” as a hair-coloring technique had been popularized in 2000 when the singer Aaliyah had her hair dyed in a subtle gradual fade from black at the roots to lighter towards the hair tips. , the "ombré" hair trend was still popular. The style has been adopted by many celebrities, such as Britney Spears, Alexa Chung, Lauren Conrad, Vanessa Hudgens, Drew Barrymore, Beyoncé, and even Jared Leto, among others. One stylist found that the "ombré" hairstyle requires very little upkeep, making it easier for it to remain on trend. While "ombre" was initially the gradual lightening of the hair from dark to light, it has expanded to take on various other techniques, including the fading of a natural color from the roots to a more unnatural color (such as turquoise or lavender) at the tips.


title: Ombré

text: The popularization of "ombré" hair encouraged the spread of this technique to other facets of beauty, such as nail art. The adoption of the "ombré" nails trend by celebrities such as Lauren Conrad, Victoria Beckham, and Katy Perry, helped popularise it.


title: Ombré

text: Following the early 21st-century trend, many popular home decorators have incorporated "ombré" into their home decorating styles. "Ombré" can be used in many products from textiles to glassware, and as a wall-painting technique, where walls are painted in colors graduating to a lighter or darker tone towards the other end. Martha Stewart describes the gentle progression of color in "ombré" as a transition from wakefulness to slumber. David Kohn Architects have explored the "ombré" effect in the design of the floor tiling of the interior of an apartment, Carrer Avinyó, Barcelona. The tile pattern is graded in colour from green at one end of the apartment to red at the other to differentiate the two owners' private spaces. The encaustic tiles were manufactured by Mosaics Martí, suppliers of tiles to Antoni Gaudí.


title: Ombré

text: In baking, "ombré" effects are typically achieved through applied techniques such as frosting on a cake, but baking individual cake layers in graduated tones from light to dark is possible. The effect can also be achieved by dyeing and stacking the layers of a cake in the "ombré" fade.


title: Ombré

text: Due to the colour range available for different types of cosmetic products, an "ombré" effect can be achieved by blending two or more shades together on the eyes, lips,


title: Gary Pallister

text: Gary Andrew Pallister (born 30 June 1965) is an English former professional footballer and sports television pundit.


title: Gary Pallister

text: As a player, he was a defender from 1984 to 2001 and is most noted for his nine-year spell at Manchester United from 1989 until 1998. His honours at United include four Premier League titles, three FA Cup's, the League Cup, the European Cup Winners Cup, the European Super Cup and five Charity Shields. He is perhaps best known for his partnership at centre half with Steve Bruce. He also had several spells with Middlesbrough that yielded over 200 appearances combined over both periods, as well as briefly playing on loan with Darlington in 1985. He was capped 22 times by England between 1988 and 1996, as well as nine caps for the England B team.


title: Gary Pallister

text: Following his retirement, Pallister has worked in the media and has appeared as a television pundit for both BBC Sport and ITV Sport, with notable appearances on "Football Focus" and "Final Score".


title: Gary Pallister

text: Although born in Ramsgate, Kent, Pallister grew up in Norton, County Durham and supported nearby Middlesbrough F.C. His footballing career started at non-league Billingham Town. At the age of 19 he joined his boyhood club, Middlesbrough, as a defender; he made 156 League appearances over nearly five seasons, and helped them win consecutive promotions to the Football League Second Division in 1987, and then the First Division in 1988. He moved to Manchester United on 29 August 1989 for £2.3 million.


title: Gary Pallister

text: Pallister's transfer broke the national record for a fee paid for a defender, as well as being the highest fee between British clubs, and the second highest fee to be paid by a British club (second only to Ian Rush's return to Liverpool from Juventus a year earlier).


title: Gary Pallister

text: Pallister had the rare achievement of representing the English national side before appearing in the top flight; in 1988 when playing in the Second Division for Middlesbrough. Later that year he helped 'Boro win their second successive promotion and reach the First Division, just two years after they almost went out of business, but was unable to keep them there and they were relegated on the final day of the 1988–89 season. As one of the highest regarded defenders in England, his days at Ayresome Park were looking numbered as soon as Boro were relegated but he did begin the 1989–90 season still at the club in the Second Division before his move to United was completed.