title: Mahaveer Raghunathan

text: At the beginning of 2015, Raghunathan took part in the final race weekend of the MRF Challenge Formula 2000 series at the Madras Motor Race Track. He then returned to Europe to take part in the European Formula 3 Championship for the Motopark team.He failed to get any points, finishing 39th in the championship Raghunathan took part in the official GP3 post season test with the Campos and Trident teams, in preparation for the 2016 GP3 Series, but he only raced in the first round of the championship for Koiranen GP. He also tested with the Coloni Motorsport team in Auto GP.


title: Mahaveer Raghunathan

text: In 2016, Raghunathan raced in the Auto GP championship with Italian team PS Racing, being second in the championship. In the same year, he also raced in the BOSS GP series in the Formula Class and secured two podiums in his class.


title: Mahaveer Raghunathan

text: In 2017, Raghunathan continued racing in BOSS GP's Formula Class Championship with PS Racing. He made 13 podiums out of 14 races in his class, and ending the season as the champion of the Formula Class. He is the first and only Indian to win the BOSS GP Championship.


title: Mahaveer Raghunathan

text: In 2019, Raghunathan raced in the FIA Formula 2 Championship alongside Jordan King for MP Motorsport. He was subsequently suspended for the Austrian round based on the accumulation of 12 penalty points on his license during the season. He returned to the seat for the Silverstone round, continuing to run around at the back of the field. Both Raghunathan and team-mate King were reprimanded for failing to slow for yellow flags in qualifying at Spa-Francorchamps. A reduced field at the following round in Italy led to his only point of the season, but he was once again penalised in Sochi for not following track-limit procedures. He finished the season 20th in the standings, being the last placed driver to have scored a point.


title: Mahaveer Raghunathan

text: In August 2021, nearly two years after Raghunathan's last appearance behind the wheel of a race car, the Indian tested the Alfa Romeo Racing C38 alongside Théo Pourchaire at the Hungaroring where he set a time 1.9 seconds slower than the Frenchman.


title: Mahaveer Raghunathan

text: The following year, Raghunathan took part in the FIA World Endurance Championship rookie test at the Bahrain International Circuit, driving for Algarve Pro Racing.


title: Shaved ice

text: Shaved ice is a large family of ice-based desserts made of fine shavings of ice or finely crushed ice and sweet condiments or syrups. Usually, the syrup is added after the ice has been frozen and shaved—typically at the point of sale; however, flavoring can also be added before freezing. The dessert is consumed worldwide in various forms and ways. Shaved ice can also be mixed with large quantities of liquid to produce shaved ice drinks.


title: Shaved ice

text: Many shaved ices are confused with "Italian ice", which is derived from the similar Italian dessert known as "granita". However, Italian ice, also known as "water ice", often has the flavoring (fruit juice or other ingredients, like almond) incorporated into the sugared water before it is frozen. Shaved ice—especially highly commercial shaved ice (such as that found in food chains or from street vendors)—is often flavored after the ice has been frozen and shaved. Snow cones are an example of shaved ice that is flavored after production.


title: Shaved ice

text: The first documented "shaved ice" dessert was made in 27 B.C.E. The Roman Emperor Nero sent slaves to collect snow from nearby mountains that he then flavored with a fruit and honey mixture.


title: Shaved ice

text: In imperial Japan, the dessert was also a treat reserved for royalty, as it was made of natural ice formed during the coldest period of winter, which was stored in icehouses. This made it very rare, and a supreme luxury available only to Heian period nobles; ordinary people could not afford it. is believed to be a Filipino indigenized version of the Japanese class of desserts, originating from prewar Japanese migrants into the Philippine islands. The earliest versions were composed only of cooked red beans or mung beans in crushed ice with sugar and milk, a dessert known locally as . Over the years, more native ingredients were added, resulting in the development of the modern . Some authors specifically attribute the invention of to the 1920s or 1930s Japanese migrants in the Quinta Market of Quiapo, Manila, due to its proximity to the now defunct Insular Ice Plant, which was the source of the city's ice supply. As Japanese people immigrated to Hawaii, they brought this tradition with them. Like Rome and Japan, in Hawaii warm areas are close enough to snow-capped mountains that snow can be brought into the warm areas without melting.


title: Shaved ice

text: In Latin America shaved ice desserts have influences from North American cultures, in many of these locations the Spanish name is either , or its variations; "raspa", "raspao", "raspadinha" ("" is Spanish for "scrape"; hence "raspado" means "scraped", referring to the ice, therefore also meaning "shaved"), or , "granizada", "granizo" (from , meaning hail stone).


title: Shaved ice

text: In East Asia, shaved ice desserts are not only flavoured with various types of syrup. It is also common to add solid ingredients such as red bean paste, jellies, canned fruits, jams, sweetened condensed milk, and many other types of sweetened foods to vary the textures of the ice dessert.


title: Heinkel He 277

text: The Heinkel He 277 was a four-engine, long-range heavy bomber design, originating as a derivative of the He 177, intended for production and use by the German Luftwaffe during World War II. The main difference was in its engines. The He 177 used two Daimler-Benz DB 606 "power system" engines, each of which consisted of two combined Daimler-Benz DB 601 engines, each DB 606 weighed 1.5 tons. The He 177A-3 and its successors used two DB 610 "power system" engines, each of which consisted of two combined Daimler-Benz DB 605 engines, each DB 610 weighed 1.5 tons. Due to problems with both the DB 606 and the DB 610, the He 277 was intended to use four unitized BMW 801E 14-cylinder radial engines, each mounted in an individual nacelle and each turning a three-blade, four-meter diameter propeller.


title: Heinkel He 277

text: The design was never produced and no prototype airframe was completed. The deteriorating condition of the German aviation industry late in the war and the competition from other long-range bomber designs from other firms, led to the design being cancelled. Although not specifically intended for it at first, partially due to the time-frame in the spring of 1942 in which its ultimate niche was requested for by the "Reichsluftfahrtministerium" (RLM), the He 277 design became Heinkel's entry in the important trans-oceanic range "Amerikabomber" competition, struggling to compete against other designs from rival firms in the competition for a truly trans-oceanic ranged bomber for the Luftwaffe.


title: Heinkel He 277

text: For many years after the war, a substantial number of aviation history books and magazine articles that dealt with late World War II German military aviation developments consistently stated that "Reichsmarschall" Hermann Göring, early in World War II, was becoming so frustrated by the 177A's ongoing engine problems, caused by the twin DB 606 "coupled" powerplants selected for the He 177A design in the pre-war years, that he forbade Ernst Heinkel from doing any work on a separately four-engined version of the 177 airframe, or even mentioning a new "He 277" design with four separate engines – by one account, in the late autumn of 1941 – until Heinkel brought the disagreement directly to Adolf Hitler, who supposedly not only approved of calling the new, separately engined version of the 177 the "He 277", but overruled Göring's prohibition on working on the design (previously called the "He 177B" by Heinkel as a "cover designation" to hide its existence from Göring, and the RLM.)


title: Heinkel He 277

text: Statements by Göring himself in August 1942 in response to "Oberst" Edgar Petersen's reports - in his capacity as the "Kommandeur der Erprobungstellen" (commander of all Luftwaffe test stations), themselves headquartered at "Erprobungsstelle Rechlin" - on solving the serious problems with the original Heinkel He 177A's powerplants, however, seem to directly contradict elements of the oft-repeated story, as those statements seem to show that Göring thought that the He 177A actually had four separate engines, and in late August 1942 Göring derisively labeled the He 177A's coupled engine arrangements, the 1.5 tonnes-apiece DB 606 and DB 610 "power systems" at that time as monstrous "zusammengeschweißte Motoren", or "welded-together engines", in his complaints about the He 177A's ongoing engine difficulties, and was anxious to see a truly four-engined version of Heinkel's heavy bomber fully developed and in production. The earliest-dated initiative to be undertaken by Ernst Heinkel himself to trial a true "four-engined" design format for the original He 177 dated back to 17 November 1938, before the construction of the He 177 V3 and V4 prototype airframes had even been started, when Heinkel had personally asked the RLM to set aside the He 177 V3 and V4 airframes for a trial installation of four separate unitized Junkers Jumo 211 powerplants to overcome the concerns that the RLM "Technischen-Amt" technical department's director Ernst Udet and Heinkel had expressed about the RLM's specific dive-bombing priority for the He 177A, but was turned down for the trial fitment.


title: Heinkel He 277

text: Facts that could have fostered the origin of the post-war aviation book storyline about the "He 177B"/He 277" controversy were that the RLM, in listing the He 177 development projects that they approved of the Heinkel firm doing work on as of February 1943 — six months after Göring's recorded engine complaint statements, and 18 months after the first-ever consideration by the RLM for any He 177 proposed variant to have four "individual" powerplants, as the paper-only "He 177H" high-altitude predecessor to the later He 274 in October 1941, only included the He 177 A-5 heavy bomber, A-6 high-altitude bomber, A-7 long-range version, and the "He 277" itself, defining the February 1943 date as the earliest reliable date of any official German government mention of such an "He 277"-designated aircraft, as this date also indicates the time by which the RLM had issued the Heinkel firm the "8-277" airframe design number for the project. The RLM was also expecting, during the late spring of 1943 — about one year after the mid-Spring 1942 "Amerikabomber" proposal first arrived in Göring's offices — that a trio of He 277 V-series prototype aircraft, and construction of ten pre-production He 277A-0 series service test machines were to be completed, as well as "progressive development" of the still-unbuilt and unfinalized design, were anticipated as coming from Heinkel's Schwechat southern plant complex in Austria. The initial starting place for the He 277's fuselage design had been meant to originate with the last "coupled-engine" proposed variant of the He 177 itself, the long-range A-7, which itself was to be the basis for a four-engined variant of the "Greif" as the He 177A-10, then redesignated the He 177B-7 in the late summer of 1943, as both the A-7 and B-7 had omitted the manned rear dorsal turret of the earlier A-series versions for lighter weight. The considerable changes in the He 277's overall design philosophy evolved after the "Amerikabomber" proposal's emergence in May 1942, from the changes in the He 277's general arrangement proposal drawings during that time period. The original proposal, which was meant to use the He 177A-7's fuselage as the starting point, evolved into designing a dedicated, new and wider He 219-general pattern fuselage layout for the 277 from the Spring 1943 timeframe onward, which would be more capable of using a tricycle undercarriage then gaining favor with a few German aviation designers, even with the 277 not known to have been specifically considered by the RLM in the earlier timeframe for the "Amerikabomber" proposal.


title: Heinkel He 277

text: The main factor that seemingly required the lower-drag "coupled" powerplant format for the He 177A, the diving attack mandate by the RLM, which Ernst Heinkel vehemently disagreed with since the original "Greif's" beginnings in the late 1930s, was rescinded by Göring himself some five months "before" the "He 277's" earliest-known February 1943 RLM approval date. The Heinkel firm started work on the He 177B as a straightforward, separately four-engined development of the 177A under the B-series designation at least as early as the late summer of 1943, when official Heinkel documents began referring to the He 177B, evidenced from an August 1943-dated, Heinkel factory-created general arrangement "Typenblatt" drawing of the He 177 V101 being labeled with the "8-177" RLM designation for the entire line of "Greif" airframes, and "B-5" elsewhere in the drawing's title block, as a fully RLM approved development of the original He 177 aircraft line, and not in any way directly related to the entirely separate He 277 advanced bomber design project, which by the summer of 1943 was considered to be Heinkel's "Amerikabomber" aviation contract contender. The first development of the original He 177A to fly with four "individual" engines – using a quartet of He 219-style annular radiators to cool its likely-unitized Daimler-Benz DB 603 powerplants – was the second He 177B prototype, the He 177 V102, on December 20, 1943.


title: Heinkel He 277

text: In total, there were three separate efforts, the movement toward which had been initiated by Ernst Heinkel as early as November 1938, to develop "true four-engined versions" of the A-series "Greif": the He 177B, which culminated in four prototype examples being built, with three getting airborne before the war's end; the He 274, of which only two prototypes were started before the end of World War II and completed and flown in France after the war's end; and the He 277, for which only a few airframe parts had been in the process of completion, with no completed prototypes at any time, before or after the end of the war.


title: Heinkel He 277

text: The general arrangement "Typenblatt" drawings that Heinkel's firm was developing for the He 277 by mid-1943 show an advanced design of heavy bomber, with a 133 square meter area (1,431.6 sq. ft.) "shoulder mount", 40 meter (131 ft 3 in) span wing design, four separate BMW 801E powerplants of 1,471 kW (2,000 PS, 1,973 hp) output each at take-off, with each engine turning a propeller of up to four meters in diameter. The undercarriage options considered for the design included either a fully retracting conventional or nosewheel landing gear, with main gear assemblies that possessed twinned main wheels on each unit, retracting forward (for the nosewheel version, rearwards for a conventional gear arrangement) into the inner engine nacelles. The Heinkel firm's previous experience with designing flightworthy, retractable tricycle undercarriage-equipped airframes extended as far back as late 1939 with the Heinkel He 280 jet fighter prototype, and further strengthened with the unexpectedly successful Heinkel He 219A night fighter, which also used a tricycle undercarriage.


title: Heinkel He 277

text: The main crew accommodation of the He 277 consisted of a heavily glazed and "greenhouse"-framed clear view "stepless" cockpit, a common feature of many late-war German bomber airframes and new designs. Immediately aft of the heavily glazed nose, the cockpit glazing over the crew seating and pilot accommodation-enclosing upper section that was blended with the nose glazing's contours, protruding above the 277's forward dorsal fuselage decking level, with a rearward extension atop the fuselage that faired-in the forward upper dorsal turret's forward surface, extending rearwards to just forward of the inner engine cowls. The fuselage outlines themselves were deep, and almost slab-sided in cross-section, with its general sideview profile lines being strongly reminiscent of the smaller He 219 night fighter. This similarity with the 219 even extended to the depictions of the He 277's fuselage-mounted defensive armament emplacements as proposed by Heinkel, with one forward and two aft-facing "steps" along the slightly rounded dorsal and ventral surfaces of the fuselage, much like the smaller night fighter's earliest prototypes had, for the 277's manned aft dorsal and remote aft ventral turret defensive weapons mounts — the aft ventral emplacement being moved rearwards by roughly two meters, in comparison with the early He 219V-series prototypes, to accommodate the aft end of the He 277's bomb bay. The twin tail empennage assembly of the He 219 night fighter was also a likely inspiration for the 277's own similar unit, that added aerodynamic stability when compared to the 177A's single vertical tail — proven to be true from the first flights of the He 177B-series' four-engined He 177 V102 twin-tailed prototype from late December 1943 onwards — and made mounting a powered traversable defensive tail turret easier. Provision was shown on the Heinkel "Typenblatt" general arrangement drawing for a quartet of ETC-family underwing hardpoint racks, two per wing panel on either side of the outboard pair of BMW 801 engines, potentially allowing external ordnance loads or drop tanks to extend the bomber's capabilities or range.


title: Heinkel He 277

text: In a May 1943 Heinkel factory document showing possible offensive bombload configurations and flight consumable (fuel, etc.) weights for the He 277, two differing bomb bay sizes (interior dimensions of 1.5 x 7.5 meters for the He 277's tailwheel version, and 1.75 x 7.0 meters for the tricycle undercarriage version) were considered, with the latter bomb bay configuration existing within a 1.90 meter width fuselage. The lightest warload of six 500 kg (1,100 lb) SC 500 bombs for each bomb bay configuration, gave the tricycle-geared, 1.9 meter exterior width wider-fuselage version, considering a larger load (12,200 kg/26,895 lb) of fuel, a possible stated maximum range of , equalling the potential range capability of the earlier-designed Me 261, an indicator of what could have been achieved had the 277 been in full consideration from its beginnings for the "Amerikabomber" design competition.


title: Heinkel He 277

text: Defensive armament comprised, as envisioned, a five-turret complement of defensive ordnance positions, with only two of these directly manned, and the remainder all remotely operated: a forward, remotely operated "Fernbedienbare Drehlafette" FDL 151Z "chin turret" under the extreme nose with twin MG 151/20 cannon much as the 177B-series was intended to use, with a 20º "upwards"-tilted axis of traverse in the turret mount design to provide a small degree of elevated fire, twin dorsal turrets – a second remotely operated FDL 151Z forward emplacement, otherwise similar in appearance to the proposed chin turret, and a manned "Hydraulische Drehlafette" HDL 151Z rear dorsal emplacement – each armed with a pair of MG 151/20 cannon, with both dorsal turrets providing aftwards-section defensive fire upwards and to the sides and rear; an aft remotely operated FDL-family ventral turret for lower rearwards defense, just behind the bomb bay's rear edge with another pair of MG 151/20 cannon with the gunner laying prone, facing rearwards in a starboard-side offset position that possessed a slightly-protruding ventral blister-like gondola for the gunner's position to sight the rear ventral remote turret, and a manned "Hecklafette" HL 131V tail turret with a quartet of MG 131 heavy machine guns. The "Hecklafette" four-gun turret had also been planned to be used on some of the other "Amerikabomber" competing airframes for their own tail-mounted defensive armament, in addition to Heinkel's own A-6 and A-7 proposed versions of the original He 177A airframe, and the nascent He 177B-5 to be in production at "Arado Flugzeugwerke" by November 1944, and meant to be fitted onto not only the incomplete He 177 V104 B-series "finalized" prototype airframe as the B-5's production prototype, but also a projected "C-version" of the He 219 night fighter. This increasing demand for an advanced "quadmount" gun turret within the Heinkel firm's own range of late-war combat aircraft designs, that had not even been produced by the Borsig firm responsible for it, beyond a small number of test units and engineering mockups led to an alternative twin-cannon "HL 151Z" version to be planned for. This newly conceived twin-cannon adaptation was meant to use new elevation gun-mount assemblies with the HL 131V's core traverse shell, with each new elevation unit configured to take a single MG 151/20 cannon per turret side. Only a few ground test examples of the twin-cannon variant tail turret had been produced by March 1944. One of these twin-cannon experimental tail turrets was mounted on an He 177A airframe for testing, possibly any of the He 177 V32 through V34 prototypes already configured to take the original HL 131V turret. Some sideview line drawing depictions of purported "He 277" aircraft, usually in the same aviation history volumes that purveyed the erroneous "He 177B/He 277" storyline, also show what could be an early He 177A-7-based depiction of the later "Amerikabomber" competitor bearing the He 177A's "Cabin 3" standard cockpit and a quartet of the He 219-derived unitized DB 603 inverted V12 engines actually used on the four He 177B-series prototypes (He 177 V101 through V104) for power, with the abandoned "Bugstandlafette" BL 131V quadmount remote turret as a "chin turret" in place of the FDL 151Z system as depicted in the Heinkel firm's factory "Typenblatt" drawings — the BL 131V had already been abandoned in 1943 as too heavy (reducing offensive bombload by a full tonne) and slowing the earlier He 177A airframe by some 30 km/h in top airspeed due to drag, making even the chance of its proposed existence on any He 277 design proposals unlikely.


title: Heinkel He 277

text: Throughout the time that the He 277 design was being worked on, Ernst Heinkel was facing competition from other developing heavy bomber designs, and large four-engined aircraft proposals that showed promise as heavy bombers, from Focke-Wulf (the Fw 300, and later, the Ta 400), Junkers (the Ju 390), from Messerschmitt AG (the Me 264), and from his own firm's He 274 four-engined, high-altitude development of the He 177.


title: Heinkel He 277

text: The first of these designs that the He 277 was pitted against, mostly to determine the "most producible" bomber that could also be license-built, given Germany's limited aircraft production capacity to arm the Luftwaffe with, and partially to determine the best long-range bomber design to fulfill the needs of the spring 1942-issued "Amerikabomber" program documents, the Messerschmitt Me 264 ended up being the first design to challenge the He 277's chance for production. The Me 264 was a purpose-built long-range bomber, using a tricycle landing gear configuration from the start. The Me 264 prototypes were already flying their test programs with power of exactly the same choice that Heinkel had asked for on November 17, 1938, for the He 177 V3 and V4 prototypes: with four Junkers Jumo 211 engines as early as late December 1942 – a full year after Nazi Germany had declared war on the United States, five months after the Eighth Air Force had begun flying bomber missions against Nazi-occupied France, and two months before the RLM's earliest-known mention of any recorded approval for the He 277 design itself — the later fitment of a quartet of the BMW 801 radials to each example of the trio of Me 264 prototypes also potentially challenged the availability of the same engine design that the He 277 was meant to use, had the Me 264 gone into production with them.


title: Heinkel He 277

text: The four-engined Me 264's development, because of the need to use scarce strategic materials in its construction, and because of the better performance estimates that the Focke-Wulf Ta 400 and He 277 possessed, was stopped in May 1943.


title: Heinkel He 277

text: Because of the US involvement in the European Theater commencing in mid-August 1942, the Luftwaffe now found that it had a serious need for a well-armed, long-range bomber, which the Luftwaffe found could not be achieved with the 1,120 kW (1,500 hp) class engines it had on hand for such a four-engined bomber. Such ongoing difficulties in developing high-output aviation powerplants of over 1,500 kW apiece, that could be used in combat with proven reliability — which excluded the DB 606 engines of the earlier He 177A variants, which themselves proved to be seriously troublesome from the start of the He 177A's combat service in 1942 — meant that six engines of the under-1,500 kW (2,000 PS) power output levels that they could produce would be needed on a strategic bomber design for a successful mission from Europe to attack the US and safely return to base, with enough of an offensive bombload to be effective, and to have enough defensive firepower for protection to achieve a safe return. It was events on the date of July 3, 1943 that seemed to cement this viewpoint in the RLM's mind – no production decisions on the still-unfinalized He 277's design had emerged by that date, and the continuing problems in Dessau with the high-output Junkers Jumo 222 engine had set back its development, making its use with the He 277, first proposed on that date, even more problematic. The Blohm & Voss firm's aviation division had already settled on six engines with success, as early as 1940, on the prototypes of the BV 222 "Wiking" flying boat maritime patrol aircraft, itself possessing a substantial 46 meter wingspan, with 255 square meters of area. This emerging need for six engines for such an aircraft was also recognized by Messerschmitt AG, when that firm fielded a paper project for a six-engined "Me 264B", that had a stretched wingspan outwards to 47.5 meters (155 ft 10 in), with two additional BMW 801 radial engines outboard of the existing four powerplants and the same "Hecklafette" four-gun tail turret as the He 277. Eventually, the Heinkel firm received an order on July 23, 1943 from the Reich Air Ministry's technical department ("Technischen Amt") — for Heinkel's engineering shops to design a set of wings for the 277's unfinalized design that could accept a quartet of the troubled Jumo 222 engines, alongside the still "paper-only" concept also being ordered to be designed and buildable with the desired six-engine format the RLM was now favoring for an "Amerikabomber", intended to be upwards of a 170 square meter (1,830 sq. ft.) wing area of 45 meter (147 ft 7 in) span to possibly accommodate either four Jumo 222s or six BMW 801s.


title: Heinkel He 277

text: In March 1943, Focke-Wulf came up with a six-engined version of their proposed Fw 300 bomber, originally powered with just four BMW 801E radials. Their more advanced Ta 400 design, first proposed in October 1943 with a tricycle landing gear setup and meant to be powered with a half-dozen of the same engines as the 277 was meant to use, was joined by the Ju 390, a Junkers six-engined version of the developed version of their early-war Junkers Ju 90 airliner, the operational Junkers Ju 290 maritime patrol bomber, and also using six of the same BMW radials as the 277, with both the earlier four-engined A-8 variant of the Ju 290, and the Ju 390A-1 each meant to have a pair of the He 277's "Hecklafette" quad-gun tail turrets, but with one each in the planned tail position and in a new nose-mount version.


title: Heinkel He 277

text: By October 1943, Ernst Heinkel had compared the Messerschmitt and Junkers four-engined designs, and the six-engined BV 222, Ju 390 and Ta 400 designs to his own He 277 project, with the following conclusions:


title: Heinkel He 277

text: Of these competing types mentioned by Dr. Heinkel — outside of the thirteen BV 222 six-engined maritime patrol flying boats actually built — only three of the Me 264 design, and a verified pair of the Ju 390 aircraft were ever built, solely as flyable prototypes, and none of these aircraft saw any action against the Allies.


title: Heinkel He 277

text: The He 274, because of its own intended high-altitude role, was only a potential competitor with the He 277 for Heinkel's own company engineering and production staff, and the He 274's production had already been outsourced by the end of 1941 to the French "Societe Anonyme des Usines Farman", or "SAUF" firm in Suresnes to partially allow Heinkel to work on other projects, like the He 277 and the more advanced Heinkel He 343 jet powered medium bomber design, both of which each had a few airframe components in the process of manufacture for prototype airframes, but with both designs never able to be completed as flyable aircraft.


title: Heinkel He 277

text: The last competing aircraft design that threatened the He 277's chance for increasingly scarce production capacity was the Junkers Ju 488, a composite of earlier developments of the Junkers Ju 88 twin-engined fast medium bomber design, with a few core components being purpose-designed solely for it, that were brought together to create a four-engined heavy bomber while using already-available components. Two prototype Ju 488s had been completed by the start of the summer of 1944, but were each sabotaged to unairworthy status by the French Resistance by mid-July 1944, before either one had ever been flown.


title: Heinkel He 277

text: In April 1944, simultaneously with the four He 177B prototypes either flying (He 177 V101 to V103) or nearing completion (V104) at the "Heinkel-Süd" facility at Schwechat, the RLM ordered Heinkel to cease any further work on the He 277 project, and all components were also ordered to be scrapped, without any complete examples of the 277 ever having been completed by Heinkel, only three months before the "Jägernotprogramm" took over all German military aircraft production priorities on July 3, 1944 — with only the Heinkel He 162 "Spatz" lightweight jet fighter contract winner allowed to progress into production by the RLM from Heinkel's firm from that time forward.


title: Heinkel He 277

text: From Griehl, Manfred and Dressel, Joachim. "Heinkel He 177-277-274", Airlife Publishing, Shrewsbury, England 1998, pp. 159 & 184.


title: Nerariyan CBI

text: Nerariyan CBI () is a 2005 Indian Malayalam-language mystery film directed and produced by K. Madhu and written by S. N. Swamy. The fourth installment in the franchise of CBI investigative thrillers, Mammootty reprised the role of Sethurama Iyer, a Central Bureau of Investigation officer, with Mukesh and Jagathy Sreekumar reprising their roles as the associate officers Chacko and Vikram respectively and the background score composed by Shyam.


title: Nerariyan CBI

text: Like its prequels, "Oru CBI Diary Kurippu" (1988), "Jagratha" (1989) and "Sethurama Iyer CBI" (2004), "Nerariyan CBI" was also set as a murder mystery behind a lady, who found dead at a haunted mansion in suspicious condition.


title: Nerariyan CBI

text: There was a murder in a house. The victim is Mythili. The dead body was seen by Lakshmiyamma first. It was seen that Mythili and her friends along with Anitha came just a day before the murder. And it was also widely said that a room in that bungalow is haunted. Sai, Anitha's fiancé, and a young police officer start to investigate the case but he also starts to believe that the room is haunted because of an incident that happened to him. Soon the case goes to the CBI. It was handled by Sethurama Iyer. Soon he investigates the case and finds out that the room is not haunted and it was a murder and that a few family members of that mansion were involved in the murder of Mythili.


title: Nerariyan CBI

text: The success of the previous film "Sethurama Iyer CBI" prompted the writer S. N. Swamy and director K. Madhu to join hands again for a one more installment in the series of CBI investigative thrillers. S. N. Swamy completed the screenplay in a time spanning one year. As the plot contained some supernatural themes as well, Swami had to conduct enough research over it. Director K. Madhu, who himself produced "Sethurama Iyer CBI", decided to finance "Nerariyan CBI" too under his banner Krishna Kripa Productions. Madhu, who has collaborated with S. N. Swamy more than 10 films at the time, said, "What thrills us is that teenagers who saw 'CBI Diary Kurippu' are going to see 'Nerariyan' with their kids."


title: Nerariyan CBI

text: Shyam, who has composed the popular background score for the former films, was again hired for composing the score for the new film, which also lacks songs in its soundtrack. Associate director I. Sasi and production controller Aroma Mohan have remained in the crew from the former team. Saloo George, who was the associate of first two parts of series' cinematographer Vipin Das and has done cinematography in "Sethurama Iyer CBI", was signed in to lead the direction of photography in "Nerariyan CBI" as well. Principal photography began after a discussion on whole screenplay was conducted, that was usual in former films too. Apart from Mammootty, Mukesh and Jagathi Sreekumar who comprised team of CBI investigators, Nedumudi Venu, Thilakan, Samvrutha Sunil, Gopika, Suja Karthika and Jishnu were added to the cast to play other prominent roles in the film. During the on-location filming "the trick of keeping the suspense alive till the end of the film" was difficult, according to Mukesh.


title: Nerariyan CBI

text: A critic from Sify assessed the film as "good'" and lauded S.N.Swamy for "making something spectacular out of ordinary material", the "mood enhancing" background score by Shyam, and the "commendable" cinematography of Salu George, noting that "The highlight of the film is Mammootty as the suave and intelligent Sethurama Iyer who looks dashing and debonair. Another


title: Nerariyan CBI

text: The reviewer, however, criticised K. Madhu's "old school of film making" style and "irritating" frequent in-film ads. The review concludes by saying "On the whole, our two thumbs go up for the


title: Star Wars: Bounty Hunter

text: Star Wars: Bounty Hunter is a 2002 action-adventure video game developed and published by LucasArts for the GameCube and PlayStation 2. Limited Run Games re-released a limited supply of the game physically for the PlayStation 4 on June 28, 2019. The game is a prequel to the 2002 film "", and a continuation of the comic book "" by Haden Blackman.


title: Star Wars: Bounty Hunter

text: Set in the "Star Wars Legends" expanded universe, the story follows former Mandalorian warrior Jango Fett during his prime as a bounty hunter, and provides the backstory to the character's role in "Attack of the Clones", explaining several elements from the film such as how he acquired his iconic ship, "Slave I", met his partner-in-crime, Zam Wesell, and was chosen as the genetic template for the Grand Army of the Republic. In the game's overarching narrative, Fett is hired by the Sith Lord Darth Tyranus to eliminate the Dark Jedi Komari Vosa, and becomes entangled in an extensive "death stick" trafficking conspiracy while clashing with several criminal syndicates and an old rival.


title: Star Wars: Bounty Hunter

text: "Bounty Hunter" received mixed to positive reviews from critics, who praised its graphics, length, sound and level design, and shooting mechanics. Criticism was aimed at the game's repetitive nature, camera control, and technical issues, while the bounty hunting system, which allows players to search each level for secondary targets with a price on their head and capture them dead or alive for a reward, was met with mixed reactions.


title: Star Wars: Bounty Hunter

text: "Star Wars: Bounty Hunter" is an action-adventure game played from a third-person perspective. Players control Jango Fett, who has access to a wide array of weapons in the game, including his trademark blaster pistols, a flamethrower, and jetpack-mounted missiles. They can use Jango's jetpack to fly and reach areas that are otherwise inaccessible, but it quickly runs out of fuel, which recharges automatically when the jetpack is not used; using the flamethrower also burns the jetpack's fuel. Additionally, Jango can use the scanner built into his helmet to identify individuals and see if they have a bounty on their head. He can then capture the individuals in question either dead, or alive, by immobilizing them with his whipcord thrower. When using the scanner, the game switches to a first-person perspective.


title: Star Wars: Bounty Hunter

text: In-game, Jango can make use of his acrobatic abilities, somersaulting, and jumping to the side to backflipping to avoid enemies. He automatically targets enemies, and holding a certain button allows Jango to move around an enemy while keeping them targeted. If the player is using Jango's blaster pistols, up to two enemies can be targeted at the same time. There are also many pickups, powerups, and items to help along the way.


title: Star Wars: Bounty Hunter

text: Completing levels and capturing bounty targets rewards the player with credits, which can be used to unlock concept art. Each level has a secret feather, which unlock cards from the "Star Wars Trading Card Game" by Wizards of the Coast; if all feathers are found, bonus footage is unlocked. After every level, pages of the comic "Open Seasons" are unlocked for viewing, and after completing chapters, "blooper reels" for the cutscenes in that chapter are unlocked.


title: Star Wars: Bounty Hunter

text: Ten years before "", the Sith Lord Darth Sidious orders his apprentice, Darth Tyranus, to eliminate his former pupil-turned-Dark Jedi and current leader of the Bando Gora crime syndicate, Komari Vosa, before she becomes a threat to his future plans. Meanwhile, Jango Fett captures gangster Meeko Ghintee after a long pursuit on the Outland Station, and turns him in for the bounty on his head. Upon returning to his Toydarian friend Rozatta, he is contracted by Tyranus with killing Vosa for 5,000,000 Republic credits.


title: Star Wars: Bounty Hunter

text: To find Vosa, Jango investigates the Bando Gora's distribution ring of narcotics called death sticks, and captures death stick dealer Jervis Gloom on Coruscant, who reveals his source to be a gangster named Groff Haugg. While investigating Haugg's processing plant, Jango runs into his longtime rival, Montross, who is also hunting Vosa and has killed Haugg via carbonite freezing after interrogating him for Vosa's whereabouts. Following a brief fight, Montross leaves to find Vosa, while Jango infiltrates the penthouse of Twi'lek Senator Connus Trell, who is also involved in the death stick trafficking ring. Trell tells Jango to seek the Dug crime lord Sebolto on Malastare before being thrown to his death.


title: Star Wars: Bounty Hunter

text: After escaping from a Republic gunship, Jango learns that Sebolto has put a 50,000 credits bounty on the head of his former employee Bendix Fust, who is incarcerated at the asteroid prison Oovo IV. Believing that capturing Faust will allow him to get close to Sebolto, Jango infiltrates the prison, but finds that another bounty hunter, Zam Wesell, has beaten him to Fust. The two are forced to work together to escape from Oovo IV with Fust, and stage a riot to create a distraction. After Jango's beloved ship, "Jaster's Legacy", is destroyed, he, Wesell, and Fust escape in another vessel, which Jango dubs "Slave I". Meanwhile, Montross finds that Haugg gave him a false lead, but hears of the Oovo IV riot and, realizing it was Jango's doing, decides to follow him.


title: Star Wars: Bounty Hunter

text: Jango delivers Fust to Sebolto on Malastare, but the crime lord quickly deduces Jango's true intentions and attempts to flee, only to fall to his death down a pipe leading into his death stick factory. Jango enters the factory and finds some Bando Gora members guarding a ship with Huttese markings on it, hinting at the Hutts' involvement in the death stick distribution ring. Montross ambushes Jango again, taunting him over his adoptive father's, Jaster Mereel, death, and the disastrous Battle of Galidraan, where Jango's Mandalorian forces were slain by a Jedi ambush. Jango is defeated, but escapes with Wesell's help.


title: Star Wars: Bounty Hunter

text: On Tatooine, while Wesell goes to question Gardulla the Hutt, Jango impresses Jabba by killing Longo Two-Guns and his gang. After learning from Jabba about Gardulla's involvement with the Bando Gora, Jango travels to her castle, but is captured after an imprisoned Wesell, whom he left in her cell to avoid sounding the alarm, compromises his position. Quickly escaping, he confronts Gardulla and feeds her to her pet Krayt dragon, which he then kills. Leaving Wesell behind, Jango continues his search for Vosa alone, only for Montross to attack Rozatta's station in an attempt to hinder him. Jango arrives to find a dying Rozatta, who gives him a guidance device to help him track Vosa and asks him to find something to live for besides money.


title: Star Wars: Bounty Hunter

text: Jango journeys to Bogden's jungle moon Kohlma, the Bando Gora's secret headquarters, where he finds Montross waiting for him in front of Vosa's citadel. Jango defeats Montross and leaves him to be killed by the Bando Gora, refusing to give him a warrior's death. As he enters the citadel, Jango is captured and tortured by Vosa, until Wesell suddenly arrives to rescue him, getting herself injured in the process. After finally defeating Vosa, Darth Tyranus arrives and chokes her to death, before explaining to a stunned Jango that the bounty was merely a test to find someone worthy of becoming the genetic template for a clone army, and that Jango passed it. The bounty hunter agrees to be cloned but, in addition to his monetary reward, demands that he get to keep one unmodified clone for himself (thus honoring Rozatta's final wish). The game ends with Jango carrying the wounded Wesell to "Slave I", while telling her not to push her luck when she asks to split the reward 50/50.


title: Star Wars: Bounty Hunter

text: "Star Wars: Bounty Hunter" began life when LucasArts was asked to make an "Episode II"-based game which featured the character, Jango Fett. In March 2001, game design documents were presented, and development began shortly after. The PlayStation 2 and Nintendo GameCube versions of the game have different custom in-house graphics engines, each designed specifically to take advantage of the two platforms' unique strengths and work around their unique limitations, but the core game engine is identical. In the PS2 version, they took advantage of both vector unit (VU) chips to drive the graphics to maximum performance. The DMA bandwidth was taken advantage of to use a high number of textures. There is full-screen antialiasing and texture mip mapping support. They used the second VU1 chip to handle all the character skinning and VU0 to handle all the skeletal animation transforms. Which enabled dozens of characters to be on-screen without bogging down the frame rate. They had 10 individually optimized rendering loops on VU1 to speed up the rendering process. Their PS2 graphics engine could move 10,000,000 triangles per second, and adding the gameplay, collision, logic, textures, sound would go down accordingly to around 30,000 to 50,000 triangles per frame, all at an average frame rate of 30 frames per second.


title: Star Wars: Bounty Hunter

text: In the Nintendo GameCube version, they took advantage of the system's fast CPU to achieve a higher frame rate, and added more polygons to characters, especially Jango, who has roughly twice the polygon count on GameCube. The GameCube's texture compression allowed them to use high-resolution textures. Texture compression also allowed for improved color variance on textures. MIP mapping support across the board on all textures helped provide a rich and consistent environment. They exploited additional memory to improve load times. They implemented projected shadows on all the characters and an increased draw distance to allow for vista views.


title: Star Wars: Bounty Hunter

text: Level design began with what designer Michael Stuart Licht referred to as spatial studies. Design began with paper cut-outs of various rooms. Licht would rearrange these rooms until he found a design that he felt worked. The papers had design ideas written on them so that other developers could understand the overall flow of each level. Bubble diagrams were then created which represented main ideas for each space. This was followed by various stages of overview drawings and other drawing studies. The 3D level design began after such studies were completed. In-game cinematics were created by Industrial Light & Magic (ILM), and marked the first collaboration between LucasArts and ILM. Composer Jeremy Soule wrote music for the game, including both cutscenes and gameplay. The characters Jango Fett and Komari Vosa have their own leitmotifs. Both Temuera Morrison and Leeanna Walsman reprise their roles from the Attack Of The Clones as Jango Fett and Zam Wesell, respectively.


title: Star Wars: Bounty Hunter

text: Production began in November 2000 when LucasArts was asked to make a game based on "" featuring Jango Fett. They presented the game design proposal in March 2001, and development started soon after. Jon Knoles revealed in an interview that they wanted to develop Jango into the ideal action-based video-game character and that he was to be exciting to watch and fun to play. Secondly they wanted to develop a story that fleshed out Fett's character more fully than in "Attack of the Clones", while at the same time remaining true to the spirit of his character as seen in the film. It was imperative to not dull the game with a slow story and leaden script; as such, their goal was to work a fine balance between backstory, narrative, and action-packed gameplay. Knoles said Jango Fett was developed to be an extension of the player's will, the ideal vessel through which the player could live out the fantasy of being the galaxy's most dangerous bounty hunter. His movement and animation blending system was designed to automatically react to other world objects and to never be unable to use his weapons or devices in any situation. The jetpack was originally designed to be used in areas specifically designed for its use. When the team got it working, they changed their minds and implemented a rechargeable timer on it so the player could use it anywhere for a limited time. At the most, the crew was over fifty people that were working on the game, excluding Industrial Light & Magic (ILM).


title: Star Wars: Bounty Hunter

text: Their concept artists looked to the team's favorite graphic novels for inspiration and the concept artwork by Ralph McQuarrie, Doug Chiang, Joe Johnston, and others who worked on the "Star Wars" films. They were given access to the Episode II script and concept art early on before the film came out. LucasArts created storyboarded scripts of their cutscenes and gave them to ILM, who developed them into cinematic cutscenes. Knoles envisioned the level layouts and then consulted with lead level designer David Wehr and his level designers. They created a bubble map of the levels that they worked from to determine details in what the player would face and be able to do. The team made a new engine for the game to be able to do what they wanted. The graphic designers worked concurrently with the level designers to create the environments, which the level designers then used to better visualize what they were trying to do. Knoles had previously been involved in the development of the "Super Star Wars" trilogy for the Super NES and often referred to those games when describing certain aspects of "Star Wars: Bounty Hunter" to the team.


title: Star Wars: Bounty Hunter

text: Industrial Light & Magic and Skywalker Sound assisted in the creation of the game, which was the first collaboration between LucasArts and ILM in the field of in-game cinematics. Knoles said LucasArts and ILM learned a great deal from their cooperation, which allowed ILM to try new methods for creating scenes, as well as new tools and techniques. LucasArts provided ILM with models, textures, and a storyboarded script, and then applied their cinematic expertise in adapting the script into dynamic and visually stunning films. The sound designers of LucasArts and the sound designers at Skywalker Sound worked together to create the game soundtrack. Skywalker Sound made sounds directly for game animations and events, and created foley sounds.


title: Star Wars: Bounty Hunter

text: "Bounty Hunter" received average to positive reviews. GameRankings and Metacritic gave it a score of 71.06% and 67 out of 100 for the GameCube version, and 69.26% and 65 out of 100 for the PlayStation 2 version.


title: Star Wars: Bounty Hunter

text: "PlayStation Official Magazine" gave the game an above-average 7 out of 10, complimenting the core shooting and production values, but criticizing its repetitive nature: "A "Star Wars"-themed 3D shooter with some optional bounty hunting. Good fun, but it promised more." IGN awarded the GameCube version of the game 8.3 out of 10, and the PS2 version 8.2. Praising the graphics, sound, length and level designs, they criticized the implementation of the bounty hunting system; "The whole process is pretty clunky, and there should have been a way to streamline this to make it more fluid - especially in the heat of a battle when your mark is mixed in with four or five other opponents. It works the way it is for sure, but it certainly could have been fixed to be more intuitive than it currently is." In the end, however, they found the game to be one of the better "Star Wars" tie-in games; ""Star Wars Bounty Hunter" is a solid, if not technically challenged third-person action/adventure. Successfully combining our favorite aspects of the "Star Wars" universe with a clever stage design and a fantastic presentation, LucasArts has done a great job in suppressing the myth that games based on the Skywalker universe aren't any fun. A definite recommendation for "Star Wars" fans, "Bounty Hunter" isn't necessarily built for everyone, but for those of you out there who just can't get enough of this stuff, it's one of your better choices for this or any holiday season."


title: Star Wars: Bounty Hunter

text: Less impressed was GameSpot, who awarded the GameCube version 6.5 out of 10 and the PS2 version 5.4. They found the technical issues of the game to be too significant; ""Bounty Hunter" suffers from an array of technical problems that have plagued other third-person action games. You can move the camera perspective using the right analog stick, but the camera will still cause you some major headaches when in tight corridors or when trying to draw a bead on a specific enemy. Often it'll automatically swivel to point you in entirely the wrong direction. Clipping and collision-detection issues also abound." They also criticized the graphics and the overall gameplay, concluding that ""Star Wars Bounty Hunter" may have all the basic ingredients needed for a solid third-person action game, but it falls flat in the execution and is far too often cumbersome, confusing, or in some other way un-fun to be recommendable on its own merits. Serious "Star Wars" aficionados should enjoy the game's story, but they'll be forced to slog through a lot of tedious action to see how it pans out."


title: The Secret of Moonacre

text: The Secret of Moonacre is a 2008 fantasy film loosely based on the 1946 novel "The Little White Horse" by Elizabeth Goudge. The film was directed by Gábor Csupó and starred Dakota Blue Richards in the leading role and with Ioan Gruffudd, Tim Curry, Natascha McElhone and Juliet Stevenson in supporting roles. The film premiered at the 2008 Toronto International Film Festival and was released in the United Kingdom on 6 February 2009 by Warner Bros. Pictures.


title: The Secret of Moonacre

text: Maria Merryweather inherits a book after her father's death: "The Ancient Chronicles of Moonacre Valley". She reads of the first Moon Princess receiving magical pearls from the moon. At her wedding with a Merryweather, her father, a de Noir, presented the couple with a black lion, while the groom gifted his bride a unicorn. When the princess revealed the pearls, the two families were possessed by greed.


title: The Secret of Moonacre

text: Forced to leave her London home, Maria and her governess, Miss Heliotrope, go to stay at Moonacre Manor with her estranged uncle Sir Benjamin Merryweather. Sir Benjamin warns of bandits and instructs Maria to stay away from the forest and the de Noirs, the rival family. After riding with her uncle, Maria hears a distressed cry and sneaks into the forest, where she is surrounded by bandits, including a boy named Robin de Noir. Before they can kidnap her, Sir Benjamin's intimidating black dog, Wrolf, frightens them away.


title: The Secret of Moonacre

text: When Maria finally continues reading the book, she discovers that the two families fought over the pearls and the Moon Princess cursed Moonacre Valley to be plunged into eternal darkness at the rising of the 5000th moon, unless a "pure heart" is heard. The Manor's chef Marmaduke tells Maria she is the new Moon Princess, as she can see the unicorn, and only such a one can undo the curse. Maria figures out that the very next full moon will be the 5000th. Frightened, she runs away and finds a cave inhabited by a woman named Loveday. Loveday reveals she herself was a Moon Princess, but failed to unite the families and break the curse. Maria realises that the de Noirs stole the casket containing the pearls and the Merryweathers took the key to it.


title: The Secret of Moonacre

text: Finding the key in the book's bookmark, Maria sneaks into the fortress, but is spotted by Robin's father Coeur de Noir. She gives him the key but he reveals that the casket is empty, accusing the Merryweathers of stealing them. Maria escapes and is led home by Wrolf. At the manor, she meets Loveday, who gives her more information: Loveday and Sir Benjamin were once engaged until Loveday revealed she was a de Noir; Sir Benjamin, furious, broke off the engagement and Loveday ran away. Maria then notices a painting of the first Moon Princess, who shows her where she hid the pearls in the forest. Maria sends forged letters to Sir Benjamin and Loveday convincing them to meet, then persuades Robin to help her. Meanwhile, Loveday and Sir Benjamin meet and discover Maria's deception. Together with Miss Heliotrope, Marmaduke, and the "halfwit" servant Digweed, they set out to search for her.


title: The Secret of Moonacre

text: Back in the forest Maria and Robin find the pearls in hollow tree and escape through a secret tunnel. Coeur's men pursue them and kill Wrolf in the process. Coeur reaches the cliff where the valley was cursed just before the moon is about to rise. Sir Benjamin then arrives with Digweed and Marmaduke, followed moments later by Maria and Robin. Loveday, revealed to be Coeur's daughter, also arrives. Maria pleads to her uncle and Coeur to put aside their pride and so break the curse, but fails. She then realizes she must do it herself, and jumps into the sea with the pearls. A huge wave surges towards the cliff and Maria appears on the back of the white unicorn. A revived Wrolf appears, having resumed his true form: the black lion. Sir Benjamin and Loveday reconcile, and Miss Heliotrope finally arrives. The Merryweathers and de Noirs are united, the curse is lifted, Moonacre Valley restored, and Maria and Robin are in love.


title: The Secret of Moonacre

text: In pre-production it was decided the film needed a different title from the book. An internet poll was run, giving fans of the book a chance to vote for their preferred title: "The Moon Princess" or "The Secret of Moonacre". "The Secret of Moonacre" won.


title: The Secret of Moonacre

text: Filming began in September 2007. While a few scenes were filmed in London, England, most of the film was shot in Hungary. Locations included Dobogókő, Alcsútdoboz, Csesznek and Budapest. The Csesznek Castle was one of main outdoor locations, while the director Gábor Csupó chose to "embody" the Moonacre mansion.


title: The Secret of Moonacre

text: The film's score was composed by Christian Henson and features the Sacconi Quartet. The soundtrack album was released digitally on 17 February and on CD on 17 March 2009. The soundtrack includes the song "Stars", co-written by Henson and Caroline Lost, and performed by singer Skye Edwards. Lost sang on her own version of the song, "Stars (Lullaby Version)", released as a single in February 2009.


title: The Secret of Moonacre

text: "The Secret of Moonacre" premiered on 6 September 2008 at the 2008 Toronto International Film Festival, and featured at the New York International Children's Film Festival in February and March 2009. The film was released in cinemas in the United Kingdom on 6 February 2009. It recouped less than its budget of $27 million, grossing $1,437,637 in the United Kingdom and a worldwide total of $7,070,330.


title: The Secret of Moonacre

text: "The Secret of Moonacre" has a 23% approval rating on Rotten Tomatoes, based on 22 reviews with an average rating of 4.13/10. The website's critical consensus reads, "Despite impressive production values, this is staid, plodding and unimpressive fantasy-fare, with poor performances struggling with an underdeveloped script."


title: The Secret of Moonacre

text: "The Secret of Moonacre" was met with a mixed reception from critics. Some criticized the film's script and acting. Phillip French of "The Observer" called it "A film about magic that remains obdurately unmagical." Rating the film one out of five stars, "The Independent"'s Anthony Quinn wrote that it had a "sluggish narrative" and accused it of "trying to hitch a lift on the Potter gravy train." Simon Reynolds of "Digital Spy" wrote that the film was "let down by a script with tin-eared dialogue" and "laboured direction", but found the cast's "hilarious acting misjudgements" enjoyable nonetheless. Kevin Maher of "The National" referred to the film as "bargain-basement fantasy", complaining that its plot was too predictable.


title: The Secret of Moonacre

text: Other critics were more positive. Rating the film four out of five stars, Fleur Cogle of "The Timaru Herald" praised "The Secret of Moonacre" as a "fun family movie" with "fast-paced storytelling and beautiful effects" and noted that it "has a subtle message about nature and our relationship with the natural world". Helen O'Hara of "Empire" rated the film three stars out of five, and wrote that it gave the "somewhat sedate book"'s story "a dose of action and adventure, giving it appeal for the "Harry Potter" generation". Also giving the film three stars, Siân Scott of "The Telegraph" found that it had "plenty to charm". "Newshub"'s Kim Choe praised the film's "lush colours and elaborate costumes" and wrote that "the larger-than-life characters should be lovable and adventurous enough to keep a young audience entertained". Francesca Rudkin of "The New Zealand Herald" wrote that "The story may be set in Victorian England, but its interpretation of the period is wonderfully wacky, with the sets a mix of minimalistic, medieval and dream-like. The production design is both a blessing and a curse; it does add much-needed elements of magic and whimsy to the story, it's just that no one seems quite sure how to act within this strange environment."


title: Ditadura Nacional

text: The Ditadura Nacional (, National Dictatorship) was the name given to the regime that governed Portugal from 1926, after the re-election of General Óscar Carmona to the post of President, until 1933. The preceding period of military dictatorship that started after the 28 May 1926 coup d'état is known as "" (Military Dictatorship). After adopting a new constitution in 1933, the regime changed its name to "Estado Novo" (New State). The "Ditadura Nacional", together with the "Estado Novo", forms the historical period of the Portuguese Second Republic (1926–1974).


title: Ditadura Nacional

text: The military coup of 28 May seized power easily. Soon afterward, the dictatorship dissolved parliament, banned all political parties and instituted censorship. This process was plagued by instability as hardline military officers purged liberals and democrats from the institutions of the Republic. During this time no one clear leader emerged, as the dictatorship was led by a coalition of lower-rank military officers, some of whom were Integralists.


title: Ditadura Nacional

text: After the republican Prime Minister and President of the Republic resigned on 30 May, naval officer José Mendes Cabeçadas Júnior assumed both posts, but after conflicts with other coup leaders, he was forced to resign on 17 June. He was replaced by General Gomes da Costa, the leader of the 28 May coup, who assumed the posts of both Prime Minister and President of the Republic. Gomes da Costa was not devoted to the establishment of a permanent military dictatorship, and as a result he was forced out on 9 July in a coup led by the unshakably authoritarian General António Óscar de Fragoso Carmona who assumed both of the highest offices of the state and seized dictatorial powers. Carmona continued as Prime Minister until 18 April 1928 but retained the post of President of the Republic until his death on 18 April 1951.


title: Ditadura Nacional

text: In 1927 there were several failed coup attempts from both left- and right-wing movements. On 12 August 1927 junior officers forced their way into a cabinet meeting and started shooting. The Carmona government regained control of the government and imposed stronger military discipline. However, the attackers were not severely punished and were sent to posts in Portuguese Angola.


title: Ditadura Nacional

text: In February 1928, the Commission for the Propaganda of the Dictatorship () was created. The Police of Information of Porto and Lisbon were merged on 17 March. Carmona organized a Presidential election on 25 March 1928, in which he was the only candidate. He was duly "elected" for a five-year term as president. On 18 April he appointed José Vicente de Freitas as the new Prime Minister. Antonio de Oliveira Salazar was appointed Minister of Finance for the second time on 26 April. The new government came to an agreement with the Catholic Church, known as the "Acordo Missionário" (Missionary Agreement), giving the church special status in Portugal's colonies. The government also closed the main offices of the Portuguese Communist Party, which was reorganised the following year under Bento Gonçalves, with the creation of a net of clandestine cells to avoid the wave of detentions, reflecting the party's new illegal status. Later that year there was another failed Republican revolutionary attempt against the government.


title: Ditadura Nacional

text: The conflicts between the military officers and the National Catholic wing represented by Salazar increased to a point where the entire Freitas government resigned on 8 July 1929, with only Salazar keeping his ministerial post in the new cabinet of Artur Ivens Ferraz. Salazar's influence began to grow at the expense of military officers who gradually lost their political power, with Roman Catholic religious institutes again permitted in Portugal. On 21 January 1930, after a conflict with Salazar, Ferraz was replaced by General Domingos Oliveira, who allowed Salazar to play an ever increasing role in the nation's finances and politics. The "Acto Colonial" (Colonial Act) was published, defining the status of Portuguese colonies (Portuguese Angola, Cabinda, Portuguese Cape Verde, Portuguese Guinea, Portuguese São Tomé and Príncipe, Portuguese Mozambique, Portuguese India, Portuguese Timor and Portuguese Macau), and the fundamental principles of the new regime were presented by Salazar on the 4th anniversary of the "May 28 Revolution".


title: Ditadura Nacional

text: By 1930 the military dictatorship had stabilized Portugal and the national leadership and state functionaries began to think about the future. The overarching question was "In what form was the dictatorship to continue?". The answer was provided by Salazar, who became Prime Minister on 5 July 1932 and in 1933 reorganized the regime as the Estado Novo. A new Constitution was approved in a referendum, defining Portugal as a Corporative, Single Party and Multi-continental country (in Europe, Africa, Asia and Oceania). The single party was the União Nacional (National Union), and a new labour code, the "Estatuto do Trabalho Nacional" (Code of National Labour), prohibited all free trade unions. Salazar's new regime brought in a system of censorship, and also created a political police force, the PVDE ("Polícia de Vigilância e de Defesa do Estado"; State Defense and Vigilance Police).


title: Ditadura Nacional

text: After 28 May 1926, there were four coup attempts against the "Ditadura Nacional" by Republican forces. On 3 February 1927, there was a large coup attempt that started in Porto, involving military and civil forces from the North, Coimbra, Évora, Algarve, and would end four days later on 7 February. On that same day, a coup attempt started in Lisbon, led by Mendes dos Reis, Agatão Lança, Câmara Lente, and Filipe Mendes, with navy, GNR, and civil forces, as well as the decaying NRP "Carvalho Araújo" and "Canhoeira Ibo". The government forces in Lisbon greatly outnumbered the rebel forces, and were supported by some units that had already reached the capital after putting down the coup attempt in Porto and this second coup attempt ended at 7:30 p.m. on 9 February 1926. About 90 people died, 400 people were wounded and 700 buildings were damaged. Over a thousand people were exiled after these two revolts and from then on, the Republican rebels mostly organised in exile, through an association known as the "Liga de Paris".


title: Ditadura Nacional

text: On 20 July 1928, a coup attempt was planned by the "Liga de Paris", Major Sarmento Beires, and military leaders of the Portuguese mainland interior, which were supported by various syndicalists (namely railroad syndicalist workers). But the negotiations were hard and the government's forces learned about the plot and preemptively bombed São Jorge Castle, where the rebels were located. This caused the rebel forces within Castelo de São Jorge to start the plot, hours before the provincial rebel forces arrived in Lisbon. The rebel forces in Lisbon surrendered on the morning of 21 July 1928 and the forces outside the capital at 22 July the latest. About 1100 military members and 200 civilians were imprisoned, many of which were later exiled.


title: Ditadura Nacional

text: Between 4 April and 2 May 1931, there was an uprising which started in Madeira, and spread to the Azores and Guinea. It was badly prepared and received little support from mainland Portugal, so it failed.


title: Ditadura Nacional

text: On 26 August 1931, the Ditadura Nacional would see its last coup attempt, this time with the support of the Spanish Republic. It was led by Hélder Ribeiro, Utra Machado, Jaime Batista, Dias Antunes, Sarmento Beires. Yet, again due to bad planning, the hostilities would begin at 26 August at 6:45 a.m., while a significant amount of rebel forces was still unprepared, - forces in the North, Tomar, Abrantes, Santarém, and Castelo Branco are still being armed by the Spanish forces when the coup attempt begins. The coup would fail before 27 August, with 40 dead and 300 wounded. About 300 civilians and 100 military rebels are deported.


title: Sleepaway Camp II: Unhappy Campers

text: Sleepaway Camp II: Unhappy Campers (released as Nightmare Vacation II in the United Kingdom) is a 1988 American slasher film written by Fritz Gordon and directed by Michael A. Simpson. It is the second installment in the "Sleepaway Camp" film series, and stars Pamela Springsteen as Angela, and Renée Estevez. The film takes place five years after the events of the original, and features serial killer Angela, working as a counselor, murdering misbehaving teenagers at another summer camp.


title: Sleepaway Camp II: Unhappy Campers

text: "Sleepaway Camp II: Unhappy Campers" has elements of black comedy and references various horror franchises, such as "Friday the 13th", "A Nightmare on Elm Street", and "The Texas Chainsaw Massacre".


title: Sleepaway Camp II: Unhappy Campers

text: Five years after the events of the first film, a girl named Phoebe, tells a group of boys at a campfire about the killings at Camp Arawak. Her head counselor, Angela, forces her to go back to the cabin. After the pair get into an argument, Angela bashes a log over Phoebe’s head then slicing out her tongue. The next day, campers Molly, Ally, Mare, Demi, Lea and sisters Brooke and Jodi, question Angela on the whereabouts of Phoebe. She tells them she had to send her home. Later that day, Angela discovers Brooke and Jodi smoking marijuana and drinking alcohol. She initially let them go only to find them fornicating with one of the boys the next day. Angela chases the boy off. Afterward, Brooke wakes up on a grill and discovers Jodi's charred remains. Angela then pours gasoline over Brooke and burns her to death as well. That night, the boys start a panty raid which Angela breaks up. During a jock strap raid against the boys Mare flashes her breasts. Angela decides to drive her home and murders her with an electric drill. The next night, campers Anthony and Judd try to scare Angela, dressed as Freddy Krueger and Jason Voorhees. The plan backfires when Angela, dressed as Leatherface, slashes Anthony's throat and murders Judd with a chainsaw. The next day, Angela sets a trap for Ally and forces her down an outhouse, drowning her in feces, urine and leeches. That night, Demi reveals to Angela that she phoned the families of the girls "sent home" and discovered the girls aren't at home. Realizing she could be caught, Angela strangles Demi with a guitar string, before stabbing Lea to death when she finds Demi's body. The next day, head counselors Uncle John and T.C. fire Angela for "sending too many campers home". Molly and Sean go into the woods to cheer her up but the pair discover the bodies of the other campers, before Angela ties them up. After learning the whereabouts of Molly and Sean, T.C. goes after them but Angela throws battery acid in his face, killing him. Sean is decapitated after he realizes Angela is the murderer from the Camp Arawak incident five years ago. Later, Angela leaves the cabin and Molly frees herself. Upon returning, Molly knocks Angela out and escapes. After an extended chase through the woods, Molly falls onto a rock and is presumed dead. After killing the remaining campers, Angela hitchhikes but the driver quickly annoys her and she kills her. Molly regains consciousness and makes it out of the woods but the truck pulls up behind her. Molly is horrified to learn that Angela is the driver and she screams, ending the film.


title: Sleepaway Camp II: Unhappy Campers

text: A YMCA youth camp in Waco, Georgia was used for the fictional Camp Rolling Hills. Filming began on September 20 and wrapped on October 9, 1987.


title: Sleepaway Camp II: Unhappy Campers

text: Like "Sleepaway Camp", "Sleepaway Camp II" was released theatrically on a limited basis. It was released in theaters on August 26, 1988 before being released on VHS in the United States by Nelson Entertainment two months later.


title: Sleepaway Camp II: Unhappy Campers

text: The film has been released twice on DVD in the United States by Anchor Bay Entertainment. The first release was in 2002 with a single DVD edition, as well as in the "Sleepaway Camp Survival Kit". Both these releases are currently out of print.


title: Sleepaway Camp II: Unhappy Campers

text: Scream Factory, under license from MGM, released "Sleepaway Camp II" and its sequel, "", for the first time on Blu-ray disc on June 9, 2015.


title: Sleepaway Camp II: Unhappy Campers

text: In the United Kingdom, the film was released via Futuristic Entertainment, under the title "Nightmare Vacation 2". There was over two minutes of scenes cut from the film in order for it to receive an "18" certificate by the BBFC as the film was deemed too violent for an uncut release. This was due to the strict regime of the time when film distribution had to adhere to rules under the Video Recordings Act 1984. The scenes cut were the removal of Phoebe's tongue, a shortened version of Ally being stabbed in the back, the complete scene where Ally is drowned in the outhouse is removed, and a shortened version of Diane being stabbed in the stomach. This version was also released on DVD from 23rd Century Home Entertainment.


title: Sleepaway Camp II: Unhappy Campers

text: "Sleepaway Camp II" was eventually released completely uncut in the UK for the first time when it was made available as part of the "Sleepaway Camp Trilogy" DVD box set from Anchor Bay Entertainment on May 31, 2004. It was also available in standard case packaging, both of which are now out of print. The film was released on DVD and Blu-ray by 88 Films as part of their "Slasher Classics Collection" in April 2016.


title: Sleepaway Camp II: Unhappy Campers

text: On review aggregator website Rotten Tomatoes, "Sleepaway Camp II: Unhappy Campers" holds a 55% approval rating, based on 11 reviews with an average rating of 4.5 out of 10.


title: Sleepaway Camp II: Unhappy Campers

text: Tim Salmons of The Digital Bits said that "[Blu-ray release of the film] is half of one of the most enjoyable high-definition horror experiences of the year". Brandon Peters of Why So Blu? wrote: "It's unfortunate that the original negative, master what have you has been lost, but I still think the film looks better than it ever has before".


title: Sleepaway Camp II: Unhappy Campers

text: According to William Harrison of "DVD Talk", the film is "purposely not scary", adding that "it, instead, ramps up the self-aware humor and ridiculous death scenes".


title: Sponsor (commercial)

text: Sponsoring something (or someone) is the act of supporting an event, activity, person, or organization financially or through the provision of products or services. The individual or group that provides the support, similar to a benefactor, is known as the sponsor.


title: Sponsor (commercial)

text: Sponsorship is a cash and/or in-kind fee paid to a property (typically in sports, arts, entertainment or causes) in return for access to the exploitable commercial potential associated with that property.


title: Sponsor (commercial)

text: While the sponsoree (property being sponsored) may be nonprofit, unlike philanthropy, sponsorship is done with the expectation of a commercial return.


title: Sponsor (commercial)

text: While sponsorship can deliver increased awareness, brand building and propensity to purchase, it is different from advertising. Unlike advertising, sponsorship can not communicate specific product attributes. Nor can it stand alone, as sponsorship requires support elements.


title: Sponsor (commercial)

text: A range of psychological and communications theories have been used to explain how commercial sponsorship works to impact consumer audiences. Most use the notion that a brand (sponsor) and event (sponsoree) become linked in memory through the sponsorship and as a result, thinking of the brand can trigger event-linked associations. Cornwell, Weeks and Roy (2005) have published an extensive review of the theories so far used to explain commercial sponsorship effects.


title: Sponsor (commercial)

text: One of the most pervasive findings in sponsorship is that the best effects are achieved where there is a logical match between the sponsor and sponsoree, such as a sports brand sponsoring a sports event. Work by Cornwell and colleagues however, has shown that brands that don't have a logical match can still benefit, at least in terms of memory effects, if the sponsor articulates some rationale for the sponsorship to the audience.


title: Sponsor (commercial)

text: All sponsorship should be based on contractual obligations between the sponsor and the sponsored party. Sponsors and sponsored parties should set out clear terms and conditions with all other partners involved, to define their expectations regarding all aspects of the sponsorship deal. Sponsorship should be recognisable as such.


title: Sponsor (commercial)

text: The terms and conduct of sponsorship should be based upon the principle of good faith between all parties to the sponsorship. There should be clarity regarding the specific rights being sold and confirmation that these are available for sponsorship from the rights holder. Sponsored parties should have the absolute right to decide on the value of the sponsorship rights that they are offering and the appropriateness of the sponsor with whom they contract.


title: Sponsor (commercial)

text: The sales cycle for selling sponsors is often a lengthy process that consists of researching prospects, creating tailored proposals based on a company's business objectives, finding the right contacts at a company, getting buy-in from multiple constituencies and finally negotiating benefits/price. Some sales can take up to a year and sellers report spending anywhere between 1–5 hours researching each company that is viewed as a potential prospect for sponsorship.


title: Sponsor (commercial)

text: These are the terms used by many sponsorship professionals, which refer to how a sponsor uses the benefits they are allocated under the terms of a sponsorship agreement. Leveraging has been defined by Weeks, Cornwell and Drennan (2008) as "the act of using collateral marketing communications to exploit the commercial potential of the association between a sponsor and sponsee" while activation has been defined as those "communications that promote the engagement, involvement, or participation of the sponsorship audience with the sponsor."


title: Sponsor (commercial)

text: Money spent on activation is over and above the rights fee paid to the sponsored property and is often far greater than the cost of the rights fee."


title: Sponsor (commercial)

text: IEG projects spending on sponsorship globally to grow 4.5 percent in 2018 to $65.8 billion, including $24.2 billion in North America alone (a 4.5% increase from $24.1 billion in 2017).


title: Sponsor (commercial)

text: Europe is the largest source of sponsorship spending, with €26.44 million (US$29 million) in just the EU member states in 2014, followed by North America, the Asia Pacific region. Growth in Central and South America during 2010 did not materialize to the extent projected—3.8 percent versus a forecast of 5.7 percent—despite the FIFA World Cup and Olympic Games in Brazil in 2014 and 2016, respectively. With the 2010 World Cup concluded, sponsorship activity should begin to heat up, thus the region is projected to be the fastest-growing source of sponsorship dollars outside North America, with a forecast growth rate of 5.6 percent for 2011.


title: Sponsor (commercial)

text: Relaxed television industry legislation surrounding product placement has led to a small but increasing rise in TV programming sponsorship in the UK. However, commercial sponsorship of British sports teams and players is a multibillion-pound industry. For example, Adidas became the sponsor and supplier of Manchester United's kit for ten seasons, in a 2014 deal with a guaranteed minimum value of £750 million (more than US$1.1 billion).


title: Sponsor (commercial)

text: As it has in most years over the past two-plus decades, sponsorship's growth rate will be ahead of the pace experienced by advertising and sales promotion, according to IEG.


title: Ehsan Hajsafi

text: Ehsan Hajsafi (; born 25 February 1990) is an Iranian professional footballer who plays as a left-back for Greek Super League club AEK Athens and captains the Iran national team.


title: Ehsan Hajsafi

text: Hajsafi is regarded as a utility player, being able to play as left midfielder, left-back, defensive midfielder, and winger.


title: Ehsan Hajsafi

text: Hajsafi has represented Iran at the 2014 and 2018 FIFA World Cups and also 2011, 2015 and 2019 AFC Asian Cup tournaments, in addition to Sepahan at the 2007 FIFA Club World Cup.


title: Ehsan Hajsafi

text: He was extracted from Sepahan youth academy by Luka Bonačić. Hajsafi played two matches from the start in the 2007 FIFA Club World Cup and has been a regular for Sepahan during recent seasons. Sepahan came second in the 2007 AFC Champions League.


title: Ehsan Hajsafi

text: Ehsan takes set pieces for Sepahan and plays both in central and left midfield, having scored six league goals for Sepahan in the 2007–08 season. In the last game of the league match against Persepolis, Hajsafi scored a goal for Sepahan that could have granted Sepahan the title, but Persepolis scored the vital winning goal in stoppage time to win the title. He continued to perform well and scored wonderful goals for Sepahan in the 2008–09 season. He was tested as the left back in the 2009–10 season when Sepahan won the league, and extended his contract with Sepahan for two another years.


title: Ehsan Hajsafi

text: In June 2011, Hajsafi signed a one and a half year loan conscription contract with Tractor, reuniting him with former coach Amir Ghalenoei. Tractor finished second in the league, their best results in club history. His contract with Tractor ended in January 2012, and he returned to Sepahan.


title: Ehsan Hajsafi

text: Hajsafi returned to Sepahan in January 2012, beginning this time with coach Zlatko Kranjčar. He won the Hazfi Cup with the team and extended his contract with Sepahan for another two seasons at the end of the season. In August 2014 after the end of his contract Hajsafi was close to signing with Championship side Fulham, but the deal fell through due to work permit issues. Hajsafi returned to Iran and extended his contract for another two seasons with Sepahan.


title: Ehsan Hajsafi

text: On 30 August 2015, Hajsafi joined FSV Frankfurt in the 2. Bundesliga on a two-year contract. He made his league debut on 13 September 2015 as a second-half substitute against Eintracht Braunschweig. He made his first start a week later as a left-back on 20 September in a 1–0 league win over MSV Duisburg. Hajsafi quickly established himself as the set-piece taker. Hajsafi scored his first goal for FSV Frankfurt on 2 March 2016 in a 3–3 draw against MSV Duisburg. On 13 March 2016, he scored from 50 yards against SC Freiburg.


title: Ehsan Hajsafi

text: After FSV was relegated to the 3. Liga, the club announced that they had annulled the contract of Hajsafi and he was a free agent and could sign with any club.


title: Ehsan Hajsafi

text: On 24 June 2017, Hajsafi signed a two-year contract with Greek Super League side Panionios. He is set to team up with fellow countryman Masoud Shojaei at Panionios. Hajsafi became the third Iranian in recent years to play for the club.


title: Ehsan Hajsafi

text: Hajsafi made his first appearance for the club on 13 July 2017 in a second round Europa League qualifying match against Slovenian club Gorica. On 20 August 2017, on his league debut with Panionios, Hajsafi recorded an assist from a corner kick.


title: Ehsan Hajsafi

text: On 29 December 2017, after six months with Panionios, Hajisafi reached an agreement with Greek side Olympiacos, signing a three and a half years' contract for a transfer fee of €600,000. His contract, was worth €400,000 per year. The 27-year-old player was the team's first transfer in the January window. On 11 February 2018, he made his debut with the club in the Superleague Greece as a starter, scoring a late goal as he bundled home the rebound to sealed a point for Olympiacos when Atromitos keeper Andreas Gianniotis saved Uros Djurdjevic’s penalty-kick.


title: Ehsan Hajsafi

text: On 3 August 2021, Iran international midfielder Ehsan Hajsafi joined Greek football team AEK Athens. The 31-year-old winger was a member of Iranian team Sepahan in the last half of the season. Hajsafi had played for another Greek Super League club Olympiacos in 2018. On 24 October 2021, he came in as a late substitute and sealed a 3–1 away win against Volos, after a magnificent run from Steven Zuber.


title: Ehsan Hajsafi

text: Hajsafi competed for the Iran U17 national team at the 2006 AFC Youth Championship. He later went on to appear for the U-20 and U-23 teams.


title: Ehsan Hajsafi

text: On 25 May 2008, Hajsafi played his first A national team match for the senior national team in a friendly game against Zambia. He shone in his debut with two brilliant assists in Iran's 3–2 win at Azadi Stadium. On 2 June, he then played in Iran's 2010 FIFA World Cup World Cup qualification against United Arab Emirates at home. In the return game, Hajsafi came on as a substitute to help Iran win the crucial away game.


title: Ehsan Hajsafi

text: His first international goal was against Qatar in the 2008 West Asian Football Federation Championship, when Iran went on to win 6–1. He played in 2011 AFC Asian Cup qualification, which was considered the best left side of the competition. He also played for the team in the tournament, in which Iran was eliminated in the Round 16 by South Korea. In March 2014, he was assigned as captain for the first time in his 57th national cap against Kuwait.


title: Ehsan Hajsafi

text: On 1 June 2014, he was called into Iran's 2014 FIFA World Cup squad by Carlos Queiroz. He played the full 90 minutes in Iran's first match against Nigeria which ended 0–0. He then started in a match against Argentina and was one of the key players in the match. He substituted in the 88th minute and then Argentina scored their lone goal by Lionel Messi. He also played 63 minutes in Iran's final match against Bosnia and Herzegovina. Iran were eliminated in the group stages. He was called into Iran's 2015 AFC Asian Cup squad on 30 December 2014 by Carlos Queiroz. On 11 January 2015, in Iran's opening match of the tournament, Hajsafi scored the first goal and was named man of the match in a 2–0 win against Bahrain.


title: Ehsan Hajsafi

text: On 10 August 2017, Hajsafi was banned from the national team, along with teammate Masoud Shojaei, for playing with their club Panionios against Israeli club Maccabi Tel Aviv. His ban was rescinded after posting a religious message on his Instagram. In May 2018 he was named in Iran's preliminary squad for the 2018 World Cup in Russia. He played his 100th international game on 15 November 2018 at the age of 28 in Azadi Stadium against Trinidad and Tobago.


title: Ehsan Hajsafi

text: At the 2022 FIFA World Cup, while the Mahsa Amini protests were ongoing, the Iranian team decline to sing the national anthem before their match against England. Hajsafi stated that the team supported the protestors.


title: Poles in the United Kingdom

text: British Poles, alternatively known as Polish British people or Polish Britons, are ethnic Poles who are citizens of the United Kingdom. The term includes people born in the UK who are of Polish descent and Polish-born people who reside in the UK. There are approximately 700,000 people born in Poland resident in the UK. Since the late 20th century, they have become one of the largest ethnic minorities in the country alongside Irish, Indians, Pakistanis, Bangladeshis, Germans, and Chinese. The Polish language is the second-most spoken language in England and the third-most spoken in the UK after English and Welsh. About 1% of the UK population speaks Polish. The Polish population in the UK has increased more than tenfold since 2001.


title: Poles in the United Kingdom

text: Exchanges between the two countries date to medieval times, when the Kingdom of England and the Polish–Lithuanian Commonwealth were linked by trade and diplomacy. A notable 16th-century Polish resident in England was John Laski, a Protestant convert who influenced the course of the English Reformation and helped in establishing the Church of England. Following the 18th-century dismemberment of the Commonwealth in three successive partitions by Poland's neighbours, the trickle of Polish immigrants to Britain increased in the aftermath of two 19th-century uprisings (1831 and 1863) that forced much of Poland's social and political elite into exile. London became a haven for the burgeoning ideas of Polish socialism as a solution for regaining independence as it sought international support for the forthcoming Polish uprising. A number of Polish exiles fought in the Crimean War on the British side. In the late 19th century governments mounted pogroms against Polish Jews in the Russian (Congress Poland) and Austrian sectors of partitioned Poland (Galicia). Many Polish Jews fled their partitioned homeland, and most emigrated to the United States, but some settled in British cities, especially London, Manchester, Leeds and Kingston upon Hull.


title: Poles in the United Kingdom

text: The number of Poles in Britain increased during the Second World War. Most of the Polish people who came to the United Kingdom at that time came as part of military units reconstituted outside Poland after the German-Soviet invasion of Poland in September 1939, which marked the beginning of World War II. On 3 September 1939, Britain and France, which were allied with Poland, declared war on Germany. Poland moved its government abroad, first to France and, after its fall in May 1940, to London. The Poles contributed greatly to the Allied war effort; Polish naval units were the first Polish forces to integrate with the Royal Navy under the "Peking Plan". Polish pilots played a conspicuous role in the Battle of Britain and the Polish army formed in Britain later participated in the Allied invasion of Nazi-occupied France. The great majority of Polish military veterans were stranded in Britain after the Soviet Union imposed communist control on Poland after the war. This particularly concerned Polish soldiers from eastern areas, which were no longer part of Poland as a result of border changes due to the Potsdam Agreement. The Polish government-in-exile, though denied majority international recognition after 1945, remained at its post in London until it formally dissolved in 1991, after a democratically elected president had taken office in Warsaw.


title: Poles in the United Kingdom

text: The European Union's 2004 enlargement and the UK Government's decision to allow immigration from the new accession states, encouraged Polish people to move to Britain rather than to Germany. Additionally, the Polish diaspora in Britain includes descendants of the nearly 200,000 Polish people who had originally settled in Britain after the Second World War. About one-fifth had moved to settle in other parts of the British Empire.


title: Poles in the United Kingdom

text: A Polish cleric named John Laski (1499–1560), nephew of Jan Łaski (1456–1531), converted to Calvinism while in Basel, Switzerland, where he became an associate of Archbishop Cranmer. After moving to London, in 1550 he was superintendent of the Strangers' Church of London and had some influence on ecclesiastical affairs in the reign of Edward VI. Laski also spent some years working on the establishment of the Church of England. Shortly before his death, he was recalled to Poland's royal court.


title: Poles in the United Kingdom

text: In the 16th century, when most grain imports to the British Isles came from Poland, Polish merchants and diplomats regularly travelled there, usually on the Eastland Company trade route from Gdańsk to London. Shakespeare mentions Polish people in his play "Hamlet" (e.g. "sledded polack"), which Israel Gollancz attributes to influence of the book, "De optimo senatore" (The Accomplished Senator), by Laurentius Grimaldius Goslicius (Wawrzyniec Grzymała Goślicki, a Polish bishop and noble). Gollancz further speculated that the book inspired Shakespeare to create the character Polonius, which is Latin for "Polish".


title: Poles in the United Kingdom

text: After Poland's King John III, at the head of a coalition of European armies, defeated the invading Ottoman forces at the 1683 Ottoman siege of Vienna, a pub in London's Soho district was named "The King of Poland" in his honour, and soon afterward the street on which it stands was named Poland Street (and continues to be so to this day). In the 18th century, Polish Protestants settled around Poland Street as religious refugees fleeing the Catholic Reformation in Poland.


title: Poles in the United Kingdom

text: As a young man of the Enlightenment, and already befriended by a Welsh diplomat, Sir Charles Hanbury Williams, the young Stanislaus Poniatowski, future and last King of Poland, stayed in Britain for some months during 1754. On this trip he also came to know Charles Yorke, the Lord Chancellor of Great Britain.


title: Poles in the United Kingdom

text: In 1788, during the closing years of Stanislaus Augustus' reign, after the first Partition of Poland in 1772, the Polish called a special assembly, known to history as the Four Years Diet or "Great Sejm" whose great achievement was to be the Constitution of 3 May 1791. In that period Poland sought support from the Kingdom of Great Britain in its negotiations with Prussia in an effort to stave off further threats from Russia and from its own plotting magnates.


title: Poles in the United Kingdom

text: In 1790, King Stanislaus Augustus sent Michał Kleofas Ogiński (also a composer and mentor to Frederic Chopin) on an embassy to London to meet with Prime Minister William Pitt the Younger. The British were prepared, along with the Dutch, to propose a favourable commercial treaty for Polish goods, especially flax, if Poland ceded the cities of Gdańsk and Toruń to the Prussians. This condition was unacceptable to Poland.


title: Poles in the United Kingdom

text: Stanislaus Augustus also commissioned the London art dealership of Bourgeois and Desenfans to assemble a collection of Old Master paintings for Poland to encourage arts in the Commonwealth. The dealers fulfilled their commission, but five years later Poland as a state ceased to exist following the third and final Partition. The art collection destined for Poland became the nucleus of the Dulwich Picture Gallery in South London.


title: Poles in the United Kingdom

text: In the 19th century, Polish-British relations took on a cultural dimension, with musical tours in the United Kingdom by virtuosos and composers including Maria Szymanowska, Frederic Chopin, Maria Kalergis and Henryk Wieniawski.


title: Poles in the United Kingdom

text: During the November 1830 Uprising against the Russian Empire, British military equipment and armaments were sent to Poland, facilitated by the presence of Leon Łubieński studying at Edinburgh University at the time and the swift despatch to Britain of his uncle, Józef, to secure the shipment. After the collapse of the rebellion in 1831, many Polish exiles sought sanctuary in Britain. One of them was the veteran and inventor, Edward Jełowicki, who took out a patent in London on his Steam turbine. The fall of Warsaw and the arrival of the Poles on British shores prompted poet Thomas Campbell with others to create in 1832 a Literary Association of the Friends of Poland, with the aim of keeping British public opinion informed of Poland's plight. The Association had several regional centres; one of its meetings was addressed by the Polish statesman, Count Adam Jerzy Czartoryski. Czartoryski's permanent representative at the Court of St James's was General Count Władysław Stanisław Zamoyski, who later led a division in the Crimean War on the British side against Russia. Zamoyski's adjutant was another Polish exile, an officer in the 5th Sultan's Cossacks—a Polish cavalry division—Colonel Stanisław Julian Ostroróg. The last official Polish envoy to Britain was the statesman, writer, and futurologist, Julian Ursyn Niemcewicz (1758–1841).


title: Poles in the United Kingdom

text: The 1848 revolutions in Europe gave impetus to a number of Polish socialist activists to settle in London and establish the ""Gromada Londyn"" between 1855 and 1861. They sought support from other European activists who were in the city forming the First Internationale. The social connections formed between Poland and Britain encouraged the influential Polish Łubieński family to forge further trade links between the two countries. The anglophile banker, Henryk Łubieński prompted his business associate and Polish "King of Zinc", Piotr Steinkeller, to open "The London Zinc Works" off Wenlock Road in London's Hoxton in 1837, with a view to exporting zinc sheeting to India. Moreover, two of Łubieński's grandsons were sent to board at the Catholic Ushaw College in Durham. Other relatives married into the old recusant Grimshaw and Bodenham de la Barre family of Rotherwas. Subsequently, the Redemptorist Venerable Fr. Bernard Łubieński (1846–1933) spent many years as a Catholic missionary in England. The Polish Catholic Mission in England and Wales began its pastoral work for Polish émigrés in 1853 with church services in Soho's Sutton Street and with the arrival of Sr. Franciszka Siedliska and two other nuns to start a Polish school.


title: Poles in the United Kingdom

text: The next Polish uprising, the January 1863 Uprising, led to a further influx of Polish political exiles to Britain. Among them were people like Walery Wróblewski and the only notable Polish anarchist and follower of Bakunin, Walery Mroczkowski, member of the First Internationale and opponent of Marxist ideology. Polish Jews also fled due to the intensifying anti-Semitic pogroms and better economic opportunities. Among the notable Polish Jews who came to Britain were Henry Lowenfeld theatrical impresario and brewer, Michael Marks (co-founder of Marks & Spencer), Morris Wartski (founder of Wartski antique dealers) and the family of Jack Cohen, the founder of Tesco.


title: Poles in the United Kingdom

text: Perhaps the most famous Polish person to settle in Britain at the end of the 19th century, having gained British citizenship in 1886, was the seafarer turned early modernist novelist, Józef Korzeniowski, better known by his pen name, Joseph Conrad. He was the highly influential author of such works as "Almayer's Folly", "The Nigger of the 'Narcissus'", "Heart of Darkness", "Lord Jim", "Nostromo", "The Secret Agent", "The Duel", "Under Western Eyes" and "Victory", many of which have been turned into films.