Paragraph 1: The school was originally located in Santurce but the Jesuits moved it to its current location in San Juan, Rio Piedras in 1955. Colegio San Ignacio resembles a small university campus as it has several buildings: two identical buildings consisting of classrooms, named San Luis Gonzaga (formerly "Building A") and San Francisco Javier (formerly "Building B"); one building with a computer center on the first floor and a humanities library on the second floor; the Padre Pedro Arrupe Building which houses classrooms and offices; the cafeteria building; "Building C" which houses the science classrooms and laboratories and a science and math resource center; the Complejo Cultural, a state-of-the-art humanities building completed in the year 2004 which houses English, Spanish, music, drama, and oratory classrooms and an auditorium; the administration building which houses most of the administrative staff. San Ignacio is near its sister school, Academia María Reina, an all-female school.

Paragraph 2: West Germany, Prime Minister Pierre Trudeau of Canada, King Hussein of Jordan, and King Zahir Shah of Afghanistan. Payal, a dynamic thirteen-episode visual encyclopedia, aired in 1978, to date remains the only such endeavor in Pakistan in which Nahid Siddiqui collaborated with classical musicians, creating a masterpiece, which shed light on Kathak in a society where there was very little awareness of this art. Payal, however, was banned and taken off air by the military regime after its sixth episode was aired on TV. Nahid Siddiqui has since been symbolic of resistance against extremist ideologies, beautifully using her art to exemplify Islamic culture in a way not seen before. This production is now viewed and studied by ardent Kathak dancers around the world. In England, where she lived in exile, Nahid Siddiqui inculcated the paradigms of Islamic geometry, Sufi poetry, Persian, Arab and Turkic influences in Kathak. Through the in-depth understanding of Islamic geometry, Nahid Siddiqui has greatly enhanced the visual vocabulary of Kathak by striving to find the perfect posture and body alignment to paint evocative lines and compositions. She is one of the very few Kathak dancers' who is renowned for her finesse and immense sophistication in movement. While in England, she provided her students a different perspective of Kathak, which was and is still not being explored in India. In England, she became the first Pakistani to teach at the Bharatiya Vidya Bhavan, (Indian Cultural Centre). She began her teaching career at the Midlands Arts Centre, Birmingham. She launched her dance company and since then has continued to produce professional dancers, some of whom have gone on launch their own companies in England and around the world. Those worth mentions include Late Jahanara Akhlaq, Sonia Kundi, and Simmi Gupta. It is noteworthy to mention that while she was teaching dance in England, she received patronage from the Art Council from 1990 onwards and trained many dancers of western descent. In times of violence, in a country facing an identity crisis, where ancient cultural teachings have been left to decay, she revisited her roots in Pakistan to do her bidding. By showing young Pakistanis the beauty of the ancient arts in a modern and free environment, she gives nourishment to a true culture of the East. Unlike general Kathak endeavors in Pakistan, her technique has a proper curriculum, which in its physical aspect is as strict as ballet. Nahid Siddiqui has been holding lecture demonstrations and workshops in Pakistan. Since 2005, she has taught Kathak at the privately run Lahore Chitrakar and in the department of Musicology at the National College of Arts, Lahore. She has also worked extensively with the prestigious Agha Khan University in Karachi and held workshops there. She continues to live in Lahore, Pakistan and keeps dance alive by holding routine performances for the young audience. She is running her own organization named Nahid Siddiqui Foundation, which works for Dance, Yoga, and Music.

Paragraph 3: West Germany, Prime Minister Pierre Trudeau of Canada, King Hussein of Jordan, and King Zahir Shah of Afghanistan. Payal, a dynamic thirteen-episode visual encyclopedia, aired in 1978, to date remains the only such endeavor in Pakistan in which Nahid Siddiqui collaborated with classical musicians, creating a masterpiece, which shed light on Kathak in a society where there was very little awareness of this art. Payal, however, was banned and taken off air by the military regime after its sixth episode was aired on TV. Nahid Siddiqui has since been symbolic of resistance against extremist ideologies, beautifully using her art to exemplify Islamic culture in a way not seen before. This production is now viewed and studied by ardent Kathak dancers around the world. In England, where she lived in exile, Nahid Siddiqui inculcated the paradigms of Islamic geometry, Sufi poetry, Persian, Arab and Turkic influences in Kathak. Through the in-depth understanding of Islamic geometry, Nahid Siddiqui has greatly enhanced the visual vocabulary of Kathak by striving to find the perfect posture and body alignment to paint evocative lines and compositions. She is one of the very few Kathak dancers' who is renowned for her finesse and immense sophistication in movement. While in England, she provided her students a different perspective of Kathak, which was and is still not being explored in India. In England, she became the first Pakistani to teach at the Bharatiya Vidya Bhavan, (Indian Cultural Centre). She began her teaching career at the Midlands Arts Centre, Birmingham. She launched her dance company and since then has continued to produce professional dancers, some of whom have gone on launch their own companies in England and around the world. Those worth mentions include Late Jahanara Akhlaq, Sonia Kundi, and Simmi Gupta. It is noteworthy to mention that while she was teaching dance in England, she received patronage from the Art Council from 1990 onwards and trained many dancers of western descent. In times of violence, in a country facing an identity crisis, where ancient cultural teachings have been left to decay, she revisited her roots in Pakistan to do her bidding. By showing young Pakistanis the beauty of the ancient arts in a modern and free environment, she gives nourishment to a true culture of the East. Unlike general Kathak endeavors in Pakistan, her technique has a proper curriculum, which in its physical aspect is as strict as ballet. Nahid Siddiqui has been holding lecture demonstrations and workshops in Pakistan. Since 2005, she has taught Kathak at the privately run Lahore Chitrakar and in the department of Musicology at the National College of Arts, Lahore. She has also worked extensively with the prestigious Agha Khan University in Karachi and held workshops there. She continues to live in Lahore, Pakistan and keeps dance alive by holding routine performances for the young audience. She is running her own organization named Nahid Siddiqui Foundation, which works for Dance, Yoga, and Music.

Paragraph 4: The Karnali (Chisapani) Multipurpose Project is a potential mega multipurpose storage project on the Karnali River at Chisapani, envisaging a  high dam, with reservoir area of , with power station operating under a design head of  to operate 18 units of 620 MW capacity each ( 10,800 MW installed capacity) and with a re-regulating weir downstream with power plant of 84 MW capacity operating under a head of . A large-scale irrigation development is also envisaged— in Nepal and  in India. Project planning commenced in 1960, although the feasibility study for the project was only completed in 1989. Before this project is developed a number of significant underlying issues have to be resolved. These issues include: Nepal and India reaching a bilateral agreement on the downstream benefits of regulated river flows; the resettlement of over 60,000 people; the impact on and restoration of habitat within Bardia National Park; and, above all, the financial arrangements for project funding. Accordingly, it is predicted that the chances of this project being implemented before 2025 are very slim, although increasing international pressure on reducing greenhouse gas (GHG) emissions from the energy generation sector may assist project initiation. While the likelihood of this project being developed by 2025 is low, Nepal and India could cooperate to develop this project to meet India's growing energy demand from renewable resources.

Paragraph 5: He was born on 20 March 1680 in Augusta, Sicily. No authentic account of Astorga's life can be successfully constructed from the obscure and confusing evidence that has been until now handed down, although historians have not failed to indulge many pleasant conjectures. According to Volkmann his father, a baron of Sicily, took an active part in the attempt to throw off the Spanish yoke, but was betrayed by his own soldiers and publicly executed. His wife and son were compelled to be spectators of his fate; and such was the effect upon them that his mother died on the spot, and Emanuele fell into a state of gloomy despondency, which threatened to deprive him of reason. By the kindness of the Princess of Ursini, the unfortunate young man was placed in a convent at Astorga, in León, where he completed a musical education which is said to have been begun in Palermo under Francesco Scarlatti. Here he recovered his health, and his admirable musical talents were cultivated under the best masters. On the details of this account no reliance can safely be placed, nor is there any certainty that in 1703, he entered the service of the Duke of Parma.

Paragraph 6: The Canadian Forces have one military prison, the Canadian Forces Service Prison and Detention Barracks (CFSPDB) (colloquially known as Club Ed), located at Canadian Forces Base Edmonton. Canadian Forces personnel who are convicted by military courts and receive a sentence of 14 days or more are incarcerated at CFSPDB. Men, although in the same prison, are kept separate from women. The prison is maintained and controlled by the Canadian Forces Military Police, although NCOs from various branches of the Canadian Forces serve at the prison as staff. Service personnel who are convicted of less serious offences are considered to be in "detention", and undergo a strict military routine aimed at rehabilitation for their return to regular military service, whereas personnel convicted of more serious offences are considered to be in "prison" and upon completion of their sentence they are released from the military. Serious offenders with sentences longer than two years are transferred to the Canadian federal prison system after serving 729 days, to complete their sentence in the civilian prison system, followed by release from the Canadian Forces. Any service personnel serving a sentence of 14 days or less are held in local base Military Police Detachment cells at the various Canadian Forces Bases within Canada.

Paragraph 7: In 1911, he achieved a feat that was out of reach for most beginning artists when Louis Katz gave him a solo exhibition at his eponymous commercial art gallery on West 74th Street in Manhattan. An equally unlikely outcome was a long and appreciative review of this exhibition in the Brooklyn Daily Eagle. Crediting Rosenberg with a "poetic sense," the paper's critic said the 40 pastels in the show were "sensitive and quietly impressive rather than bold and big in style, color," and added, "the subtle handling of themes are important points in the work." This critic went on to give favorable appraisals of many works by name, writing, for example, that "'Jamaica Bay, Emerald and Mauve,' shows a remarkable scenic effect, with its green-shot water and mauve areas. There are some evening effects with lights of big hotels along the shore, piercing the remembrance of sunset in the sky." A critic for the New York Times was also impressed by the show, saying the pastels were "refined in color and show[ed] a vision sensitive to beauty." Of two of them, this critic wrote, "'Wet Street,' is a poetic transcription of a scene many times noted by the artists of the city, and 'Steam and Mist' is another successful version of the mysterious and exquisite effects with which New York clothes her medley of architecture." In 1913, Rosenberg received a second solo exhibition of pastels, this time at the Arlington Art Galleries in Brooklyn, and, once again, the works displayed received favorable critical notice. One critic praised a "refinement and practiced hand" and another said the pictures had "refined color and much feeling for nature." A third critic was almost effusive, writing, "Many men aim at poetry through the medium of pictorial art, but it is not often they achieve the lyric bays so truly as this painter has done in this little group of pastels."  In 1916, he contributed a painting to the annual exhibition of the New York Water Color Club. In 1917, he exhibited in the first group exhibition held by the Society of Independent Artists. The following year he showed pastels at the Anderson Galleries with all proceeds from sales to be donated to the Red Cross. The show included landscapes and still lifes. A critic for the New York Tribune praised one of the former, "Scattering Clouds," as a "strong piece of work" revealing "deep blue mountains" against an "exquisite turquoise sky." In 1921, he showed with Marsden Hartley at the Anderson Galleries. The following year Rosenberg helped found a gallery called The New Gallery (and was called one of the gallery's "leading spirits and godfather"). The gallery was financed in part by an innovative scheme, the New Gallery Club, begun in February 1923. The club supported the gallery through its membership fees and it raised funds and publicized exhibitions by means of entertainments, teas, and receptions. Many club members were amateur artists whose work the gallery showed in special exhibitions. In 1924, Rosenberg showed three paintings in a group exhibition at the gallery. Four years later, he held a solo exhibition of Adirondack Mountain landscapes at the Erich Galleries. At that time he told an interviewer that he painted simply for the joy of it. He said, "I have no suppressed longing to live in the South Seas and do nothing but paint. And I have no 'message' to give the world. I happen to be very fond of the Adirondacks, and my summer home is located among them." His painting, "Adirondack Cloudburst," of 1946 (shown at right) is one of many mountain landscapes he made in the course of his career. In 1928, he contributed two paintings to a group exhibition of the Salons of America at the Anderson Galleries. In 1929, Rosenberg departed from the style of painting and subject matter of his earlier work when he produced what turned out to be his best-known piece, a lithograph called "Dies Irae" (Day of Wrath), showing the October 29, 1929, Wall Street Crash as a horrific scene of destruction. On January 12, 1930, the New York Times put a reproduction of the lithograph on the front page of its Sunday magazine. "Dies Irae" is shown at left.

Paragraph 8: The Sultan of Makyad enrols his daughter Fatima at St. Trinian's - a girl's school in England, run by its headmistress Millicent Fritton. Upon her arrival, she discovers that Millicent runs the school to prepare her students to succeed in a merciless world by having her students fight against authoritative figures in both the police and the government. Many of the girls are unruly and have criminal relations; as a result, the school's curriculum focuses mainly on lessons in crime and illicit schemes, all while the students thwart efforts by the local police and the Ministry of Education (a fictional British government department) to shut down the school. Millicent, however, faces problems as St. Trinian's is on the verge of bankruptcy, and seeks any means to clear the school's debt.

Paragraph 9: The Karnali (Chisapani) Multipurpose Project is a potential mega multipurpose storage project on the Karnali River at Chisapani, envisaging a  high dam, with reservoir area of , with power station operating under a design head of  to operate 18 units of 620 MW capacity each ( 10,800 MW installed capacity) and with a re-regulating weir downstream with power plant of 84 MW capacity operating under a head of . A large-scale irrigation development is also envisaged— in Nepal and  in India. Project planning commenced in 1960, although the feasibility study for the project was only completed in 1989. Before this project is developed a number of significant underlying issues have to be resolved. These issues include: Nepal and India reaching a bilateral agreement on the downstream benefits of regulated river flows; the resettlement of over 60,000 people; the impact on and restoration of habitat within Bardia National Park; and, above all, the financial arrangements for project funding. Accordingly, it is predicted that the chances of this project being implemented before 2025 are very slim, although increasing international pressure on reducing greenhouse gas (GHG) emissions from the energy generation sector may assist project initiation. While the likelihood of this project being developed by 2025 is low, Nepal and India could cooperate to develop this project to meet India's growing energy demand from renewable resources.

Paragraph 10: The next day, the SPC issued a Moderate risk for central Mississippi and portions of Louisiana, Alabama, and Tennessee. This included a large 10% hatched risk area for tornadoes, and a smaller 15% hatched risk area for tornadoes across northern Mississippi. Throughout the late afternoon and evening, multiple supercell thunderstorms developed. Hail and winds battered Mississippi, and several EF1 tornadoes caused minor to moderate damage in rural areas of the state. After sunset, the event rapidly escalated into a significant outbreak as the intensifying supercell thunderstorms pushed into Alabama, and significant tornadoes began touching down. An EF2 tornado near Belgreen snapped many trees and injured one person when a house was damaged and shifted on its foundation. Two EF2 tornadoes moved through Winston County and heavily damaged or destroyed multiple homes, mobile homes, and outbuildings, and also snapped numerous trees and power poles near Arley and Double Springs. An EF2 tornado touched down over Monte Sano Mountain in eastern Huntsville, snapping and uprooting many trees, and damaging numerous homes as it passed through several subdivisions, a few of which had roofs torn off. A horse riding arena was also destroyed by the Huntsville area tornado. An EF3 tornado passed near the towns of Danville and Neel, causing major structural damage to industrial buildings, homes and a fire station. A motorcycle shop was leveled, vehicles were tossed, and several mobile homes were completely destroyed as well. At around midnight and into the very early morning hours of November 30, the storms moved into northeastern Alabama and southern Tennessee. A powerful EF3 tornado ripped directly through the town of Rosalie and to the north of Ider, killing four people and injuring nine others. The Rosalie/Ider tornado destroyed homes and mobile homes, churches, and businesses along its path. A shopping plaza in Rosalie was leveled by the tornado, and a daycare center near Ider was reduced to a bare slab. Further to the north, strong tornadoes were impacting communities in Tennessee, including an EF3 that severely damaged the town of Ocoee. The Ocoee post office and fire station were destroyed, two people were killed in town, a cell phone tower and a metal truss tower were knocked down, and 20 people were injured. A high-end EF2 tornado struck Athens, destroying several businesses and manufactured homes, heavily damaging a large church complex, and injuring 20 people. A few homes sustained major structural damage and a double-wide mobile home was completely destroyed by another high-end EF2 tornado that passed near Whitwell and Dunlap. After sunrise, additional weaker tornadoes touched down in Louisiana, Alabama, Georgia, Florida, and South Carolina. This included several brief tornadoes that caused minor to moderate damage in and around Atlanta. A high-end EF1 downed many trees and damaged numerous homes in Simpsonville, South Carolina as well. Overall, the outbreak produced 48 tornadoes, killed six people, and injured many more.

Paragraph 11: West Germany, Prime Minister Pierre Trudeau of Canada, King Hussein of Jordan, and King Zahir Shah of Afghanistan. Payal, a dynamic thirteen-episode visual encyclopedia, aired in 1978, to date remains the only such endeavor in Pakistan in which Nahid Siddiqui collaborated with classical musicians, creating a masterpiece, which shed light on Kathak in a society where there was very little awareness of this art. Payal, however, was banned and taken off air by the military regime after its sixth episode was aired on TV. Nahid Siddiqui has since been symbolic of resistance against extremist ideologies, beautifully using her art to exemplify Islamic culture in a way not seen before. This production is now viewed and studied by ardent Kathak dancers around the world. In England, where she lived in exile, Nahid Siddiqui inculcated the paradigms of Islamic geometry, Sufi poetry, Persian, Arab and Turkic influences in Kathak. Through the in-depth understanding of Islamic geometry, Nahid Siddiqui has greatly enhanced the visual vocabulary of Kathak by striving to find the perfect posture and body alignment to paint evocative lines and compositions. She is one of the very few Kathak dancers' who is renowned for her finesse and immense sophistication in movement. While in England, she provided her students a different perspective of Kathak, which was and is still not being explored in India. In England, she became the first Pakistani to teach at the Bharatiya Vidya Bhavan, (Indian Cultural Centre). She began her teaching career at the Midlands Arts Centre, Birmingham. She launched her dance company and since then has continued to produce professional dancers, some of whom have gone on launch their own companies in England and around the world. Those worth mentions include Late Jahanara Akhlaq, Sonia Kundi, and Simmi Gupta. It is noteworthy to mention that while she was teaching dance in England, she received patronage from the Art Council from 1990 onwards and trained many dancers of western descent. In times of violence, in a country facing an identity crisis, where ancient cultural teachings have been left to decay, she revisited her roots in Pakistan to do her bidding. By showing young Pakistanis the beauty of the ancient arts in a modern and free environment, she gives nourishment to a true culture of the East. Unlike general Kathak endeavors in Pakistan, her technique has a proper curriculum, which in its physical aspect is as strict as ballet. Nahid Siddiqui has been holding lecture demonstrations and workshops in Pakistan. Since 2005, she has taught Kathak at the privately run Lahore Chitrakar and in the department of Musicology at the National College of Arts, Lahore. She has also worked extensively with the prestigious Agha Khan University in Karachi and held workshops there. She continues to live in Lahore, Pakistan and keeps dance alive by holding routine performances for the young audience. She is running her own organization named Nahid Siddiqui Foundation, which works for Dance, Yoga, and Music.

Paragraph 12: The Sultan of Makyad enrols his daughter Fatima at St. Trinian's - a girl's school in England, run by its headmistress Millicent Fritton. Upon her arrival, she discovers that Millicent runs the school to prepare her students to succeed in a merciless world by having her students fight against authoritative figures in both the police and the government. Many of the girls are unruly and have criminal relations; as a result, the school's curriculum focuses mainly on lessons in crime and illicit schemes, all while the students thwart efforts by the local police and the Ministry of Education (a fictional British government department) to shut down the school. Millicent, however, faces problems as St. Trinian's is on the verge of bankruptcy, and seeks any means to clear the school's debt.

Paragraph 13: Background and early years: The background behind the creation of the Indian Olympic Association was related to India's participation in the 1920 and 1924 Olympics.  After the 1920 Games, the committee sending the team to these games met, and, on the advice of Sir Dorab Tata, invited Dr. Noehren (Physical Education Director of YMCA India) to be secretary, along with AS Bhagwat, of the provisional Indian Olympic Committee; Dorab Tata would serve as its president.  Subsequently, in 1923–24, a provisional All India Olympic Committee was formed, and the All India Olympic Games (that later became the National Games of India) were held in Feb 1924. Eight athletes from these games were selected to represent India at the 1924 Paris Olympics, accompanied by manager Harry Crowe Buck. This gave impetus to the development and institutionalization of sports in India, and, in 1927, the Indian Olympic Association (IOA), was created at the initiative of Harry Crowe Buck and Dr. A. G. Noehren (both of the Madras (YMCA) College of Physical Education). Sir Dorab Tata was important in financing and supporting the movement and became the first Indian Olympic Association president in 1927. Messrs Buck and Noehren travelled across India and helped many states organise their Olympic associations.  Noehren was the first Secretary and G. D. Sondhi was the first assistant secretary of the Indian Olympic Association, and, after Noehren resigned in 1938, Sondhi and S.M. Moinul Haq became the Secretary and Joint Secretary of the Indian Olympic Association.

Paragraph 14: The school was originally located in Santurce but the Jesuits moved it to its current location in San Juan, Rio Piedras in 1955. Colegio San Ignacio resembles a small university campus as it has several buildings: two identical buildings consisting of classrooms, named San Luis Gonzaga (formerly "Building A") and San Francisco Javier (formerly "Building B"); one building with a computer center on the first floor and a humanities library on the second floor; the Padre Pedro Arrupe Building which houses classrooms and offices; the cafeteria building; "Building C" which houses the science classrooms and laboratories and a science and math resource center; the Complejo Cultural, a state-of-the-art humanities building completed in the year 2004 which houses English, Spanish, music, drama, and oratory classrooms and an auditorium; the administration building which houses most of the administrative staff. San Ignacio is near its sister school, Academia María Reina, an all-female school.

Paragraph 15: Their full-length feature animation, Legend of the Guardians: The Owls of Ga'Hoole, was released on 24 September 2010 and was Australia's first animated feature to be released in 3D stereoscopic. From 2004 to 2007, the company produced bumpers for Cartoon Network. In 2011, the company produced and animated LEGO Star Wars: The Padawan Menace, a 30-minute TV special. Produced for Lucasfilm and Cartoon Network, the special premiered in the United States on Cartoon Network and was followed by a worldwide DVD and Blu-ray release. In 2012, Animal Logic acquired the assets of fellow Australian visual effects studio Fuel VFX, known for their work on feature films such as Iron Man 3, Prometheus, The Avengers, Mission: Impossible: Ghost Protocol, Cowboys & Aliens, Captain America: The First Avenger and Thor. Fuel VFX was nominated for a Visual Effects Society Award and a BAFTA Award for Best Special Visual Effects for their work on Prometheus. 2012 also saw the release of the Animal Logic-animated "Polar Bowl" campaign, consisting of a 60-second and two 30-second commercials that aired at halftime at the Super Bowl XLVI. The campaign aimed to re-launch the iconic Coca-Cola polar bear characters to a new generation. Following the success of the 3 spots, which were viewed by over 160 million people globally, the company went on to animate a 6-minute short film directed by John Stevenson to headline Coca-Cola's 2013 global campaign. The film was first released through YouTube in December 2012, followed by a worldwide international cinema release. In 2013, the company led animation and visual effects work on BBC Earth and Evergreen Films' 3D live action feature Walking with Dinosaurs 3D,

Paragraph 16: March–April 1942: Nothing is happening politically in England. Certain currents of thought: Whom are we fighting against? (New German daily paper, Die Zeitung (mildly Left, circulation 60,000), for German refugees; Blimps using Vansittart’s thesis that all Germans are wicked, not merely the Nazis, to divert from the fact of fighting against Fascism; "The pinks cannot admit that the German masses are behind Hitler any more than the Blimps can admit that their class must be levered out of control if we are to win the war."; "Ordinary working people do not seem to hate the Germans... All the blame for everything is placed on Hitler."); Our Allies ("tremendous net increase of pro-Russian sentiment"; enormous hammer and sickle flag flies over Selfridges; ordinary people fail to grasp that there is any connexion between Moscow and the Communist Party; Daily Worker still banned but now sold under title of British Worker; immense amount of anti-American feeling; English xenophobia is being broken down by presence of large numbers of foreigners, but plenty of people disagree with him; certain amount of "disquieting" antisemitism); Defeatism and German Propaganda (right-wing defeatism is exemplified by Truth, distinctly influential weekly, "stronghold for the very worst kind of right-wing Toryism", advertisements for banks and insurance companies is significant; questions in Parliament revealed it is partly owned by Conservative Party machine; left-wing defeatism is more interesting: ILP is preaching a watered version of the Partisan Review’s Ten Commandments, never clearly stating whether it 'supports' the war; "increasing overlap between Fascism and pacifism"; "With the out-and-out, turn-the-other-cheek pacifists, phenomenon of people started by renouncing violence, ending by championing Hitler"; antisemitic motif very strong, usually soft-pedalled in print; "since there is no real answer to the charge that pacifism is objectively pro-Fascist, nearly all pacifist literature... specialises in avoiding awkward questions"; example of Middleton Murry’s Adelphi and Peace News; example of Now, with contributions by the Duke of Beford, Alex Comfort, Julian Symons and Hugh Ross Williamson; German radio propaganda: New British Broadcasting Station, Workers’ Challenge Station, Christian Peace Movement and Radio Caledonia (Scottish nationalism); intellectuals in France who were ready to go over: Drieu la Rochelle, Pound and Céline; "All is very quiet on the literary front" with paper shortage favouring very short books; corrected mistake made in earlier letter re. Dylan Thomas being in the army, now working for BBC and MOI); tobacco situation "has righted itself"; matches very short; watering the beer, third time since rearmament; absence of air raids relaxes black-out; few people sleeping in Tube stations; basements of demolished houses bricked up to use as water tanks in case of fire.

Paragraph 17: West Germany, Prime Minister Pierre Trudeau of Canada, King Hussein of Jordan, and King Zahir Shah of Afghanistan. Payal, a dynamic thirteen-episode visual encyclopedia, aired in 1978, to date remains the only such endeavor in Pakistan in which Nahid Siddiqui collaborated with classical musicians, creating a masterpiece, which shed light on Kathak in a society where there was very little awareness of this art. Payal, however, was banned and taken off air by the military regime after its sixth episode was aired on TV. Nahid Siddiqui has since been symbolic of resistance against extremist ideologies, beautifully using her art to exemplify Islamic culture in a way not seen before. This production is now viewed and studied by ardent Kathak dancers around the world. In England, where she lived in exile, Nahid Siddiqui inculcated the paradigms of Islamic geometry, Sufi poetry, Persian, Arab and Turkic influences in Kathak. Through the in-depth understanding of Islamic geometry, Nahid Siddiqui has greatly enhanced the visual vocabulary of Kathak by striving to find the perfect posture and body alignment to paint evocative lines and compositions. She is one of the very few Kathak dancers' who is renowned for her finesse and immense sophistication in movement. While in England, she provided her students a different perspective of Kathak, which was and is still not being explored in India. In England, she became the first Pakistani to teach at the Bharatiya Vidya Bhavan, (Indian Cultural Centre). She began her teaching career at the Midlands Arts Centre, Birmingham. She launched her dance company and since then has continued to produce professional dancers, some of whom have gone on launch their own companies in England and around the world. Those worth mentions include Late Jahanara Akhlaq, Sonia Kundi, and Simmi Gupta. It is noteworthy to mention that while she was teaching dance in England, she received patronage from the Art Council from 1990 onwards and trained many dancers of western descent. In times of violence, in a country facing an identity crisis, where ancient cultural teachings have been left to decay, she revisited her roots in Pakistan to do her bidding. By showing young Pakistanis the beauty of the ancient arts in a modern and free environment, she gives nourishment to a true culture of the East. Unlike general Kathak endeavors in Pakistan, her technique has a proper curriculum, which in its physical aspect is as strict as ballet. Nahid Siddiqui has been holding lecture demonstrations and workshops in Pakistan. Since 2005, she has taught Kathak at the privately run Lahore Chitrakar and in the department of Musicology at the National College of Arts, Lahore. She has also worked extensively with the prestigious Agha Khan University in Karachi and held workshops there. She continues to live in Lahore, Pakistan and keeps dance alive by holding routine performances for the young audience. She is running her own organization named Nahid Siddiqui Foundation, which works for Dance, Yoga, and Music.

Paragraph 18: The name change signaled more than the organization's expansion around the Pacific. In a 1970 report, PCS activists explained that much of their work was "directed towards the support of non-white GIs." They recognized that "a disproportionately high number of service personnel are…members of the black, brown or third world communities." And nonwhite GIs received "twice as many" courts martial and non-judicial punishments as white GI. Just as other left activists of the period were looking beyond the U.S. and taking "inspiration from liberation movements around the world", PCS and other GI movement organizers began to move beyond mainly antiwar politics to embrace "antiracist and anti-imperialist consciousness" and to work towards instilling this among GIs. As they put it in a 1974 pamphlet "our efforts must go beyond the short range goal of ending the war and must focus on building the movement to create a new society." Expanding to Asia, they felt, would allow them to organize GIs overlooked stateside while building alliances between GIs and Asian activists. This expansion also helped them recognize "the Vietnam War as a phase of a larger history of the US empire." To implement this, PCS moved beyond mainly legal counseling and discharge advice to offering a more GI Coffeehouse-like environment where GIs could "talk about politics and society, read underground papers and historical and political books not available on bases," as well as meet young men and women "not part of the rip-off honky-tonk environment" around U.S. bases, particularly in Asia. At the Iwakuni office, PSC organized "rock concerts, camping and beach trips" and helped GIs put out an underground newspaper called Semper Fi. Working together with Japanese antiwar activists they developed slogans such as "Break up the American military system. Stop the war machine!" PCS was also instrumental in establishing a women's center in Okanawa, which reflected the growing understanding of women's issues within the progressive movements of the times. The Women's House, "became a center for living, counseling, consciousness-raising groups, and formulating actions and solutions to common problems." And "was the only place of its kind serving the needs of women in the military, military wives and daughters (over 35,000 in Okinawa alone), women employed by the DOD, civilian women working with the GI projects, and Asian women whose work ties them to U.S. bases as baseworkers, prostitutes, and maids." PCS published a women's journal at two of its Asian offices.

Paragraph 19: He was born on 20 March 1680 in Augusta, Sicily. No authentic account of Astorga's life can be successfully constructed from the obscure and confusing evidence that has been until now handed down, although historians have not failed to indulge many pleasant conjectures. According to Volkmann his father, a baron of Sicily, took an active part in the attempt to throw off the Spanish yoke, but was betrayed by his own soldiers and publicly executed. His wife and son were compelled to be spectators of his fate; and such was the effect upon them that his mother died on the spot, and Emanuele fell into a state of gloomy despondency, which threatened to deprive him of reason. By the kindness of the Princess of Ursini, the unfortunate young man was placed in a convent at Astorga, in León, where he completed a musical education which is said to have been begun in Palermo under Francesco Scarlatti. Here he recovered his health, and his admirable musical talents were cultivated under the best masters. On the details of this account no reliance can safely be placed, nor is there any certainty that in 1703, he entered the service of the Duke of Parma.

Paragraph 20: Background and early years: The background behind the creation of the Indian Olympic Association was related to India's participation in the 1920 and 1924 Olympics.  After the 1920 Games, the committee sending the team to these games met, and, on the advice of Sir Dorab Tata, invited Dr. Noehren (Physical Education Director of YMCA India) to be secretary, along with AS Bhagwat, of the provisional Indian Olympic Committee; Dorab Tata would serve as its president.  Subsequently, in 1923–24, a provisional All India Olympic Committee was formed, and the All India Olympic Games (that later became the National Games of India) were held in Feb 1924. Eight athletes from these games were selected to represent India at the 1924 Paris Olympics, accompanied by manager Harry Crowe Buck. This gave impetus to the development and institutionalization of sports in India, and, in 1927, the Indian Olympic Association (IOA), was created at the initiative of Harry Crowe Buck and Dr. A. G. Noehren (both of the Madras (YMCA) College of Physical Education). Sir Dorab Tata was important in financing and supporting the movement and became the first Indian Olympic Association president in 1927. Messrs Buck and Noehren travelled across India and helped many states organise their Olympic associations.  Noehren was the first Secretary and G. D. Sondhi was the first assistant secretary of the Indian Olympic Association, and, after Noehren resigned in 1938, Sondhi and S.M. Moinul Haq became the Secretary and Joint Secretary of the Indian Olympic Association.

Paragraph 21: Swiss Cottage Library was constructed as part of the Swiss Cottage Centre development by the Metropolitan Borough of Hampstead in the 1950s. In 1959, British architect Sir Basil Spence created a scheme for the Civic Centre, including a library and Swiss Cottage Sports Centre. The dissolving of the Metropolitan Borough of Hampstead into the larger London Borough of Camden as part of the London Government Act 1963 brought complications to the scheme, with Camden Council instead wanting to focus on its Euston Road developments; Spence described the fate of the project as being "in the lap of the Gods". As Hampstead's final major infrastructure project, the original masterplan was downgraded to simply include a sports centre and library. Furthermore, the library, which was originally intended to be built next to Winchester Road, was instead moved to be beside Avenue Road. Queen Elizabeth II opened the library as Hampstead Public Library on the 10 November 1964, the same week in which she opened a library for the University of Sussex, also designed by Basil Spence. On opening, the library superseded Finchley Road Library as Hampstead's Central Library. Present at the opening were Councillor Luigi Carlo Denza, then Mayor of Hampstead, Basil Spence and Sir Edwin McAlpine, acting head of the library's construction firm at the time.

Paragraph 22: He was born on 20 March 1680 in Augusta, Sicily. No authentic account of Astorga's life can be successfully constructed from the obscure and confusing evidence that has been until now handed down, although historians have not failed to indulge many pleasant conjectures. According to Volkmann his father, a baron of Sicily, took an active part in the attempt to throw off the Spanish yoke, but was betrayed by his own soldiers and publicly executed. His wife and son were compelled to be spectators of his fate; and such was the effect upon them that his mother died on the spot, and Emanuele fell into a state of gloomy despondency, which threatened to deprive him of reason. By the kindness of the Princess of Ursini, the unfortunate young man was placed in a convent at Astorga, in León, where he completed a musical education which is said to have been begun in Palermo under Francesco Scarlatti. Here he recovered his health, and his admirable musical talents were cultivated under the best masters. On the details of this account no reliance can safely be placed, nor is there any certainty that in 1703, he entered the service of the Duke of Parma.

Paragraph 23: Jae Lee's first work for Marvel Comics was a Beast serial in Marvel Comics Presents #85–92 (1991). He first rose to prominence in the industry in 1992 for his work on Marvel's Namor the Sub-Mariner, taking over the art duties from John Byrne, who continued on the series as writer. Terry Kavanagh, Lee's editor on both Marvel Comics Presents and Namor, later said he assigned Lee to Namor because he liked his style and felt that, as a new artist, he would benefit from working with an experienced writer. Lee continued when Bob Harras became the writer, drawing issues #26–38 (May 1992–May 1993). As penciller of X-Factor, Lee was one of the artists of the "X-Cutioner's Song" storyline which ran throughout the X-Men titles in 1992. The following year, Lee drew the three issue Youngblood Strikefile for Rob Liefeld's Extreme Studios at Image Comics and the three issue WildC.A.T.s Trilogy for Jim Lee's WildStorm, another founding Image Comics studio. In 1994, Jae Lee produced a creator-owned Image Comics series, Hellshock, a story about a fallen angel that he wrote and illustrated.

Paragraph 24: Jae Lee's first work for Marvel Comics was a Beast serial in Marvel Comics Presents #85–92 (1991). He first rose to prominence in the industry in 1992 for his work on Marvel's Namor the Sub-Mariner, taking over the art duties from John Byrne, who continued on the series as writer. Terry Kavanagh, Lee's editor on both Marvel Comics Presents and Namor, later said he assigned Lee to Namor because he liked his style and felt that, as a new artist, he would benefit from working with an experienced writer. Lee continued when Bob Harras became the writer, drawing issues #26–38 (May 1992–May 1993). As penciller of X-Factor, Lee was one of the artists of the "X-Cutioner's Song" storyline which ran throughout the X-Men titles in 1992. The following year, Lee drew the three issue Youngblood Strikefile for Rob Liefeld's Extreme Studios at Image Comics and the three issue WildC.A.T.s Trilogy for Jim Lee's WildStorm, another founding Image Comics studio. In 1994, Jae Lee produced a creator-owned Image Comics series, Hellshock, a story about a fallen angel that he wrote and illustrated.

Paragraph 25: Swiss Cottage Library was constructed as part of the Swiss Cottage Centre development by the Metropolitan Borough of Hampstead in the 1950s. In 1959, British architect Sir Basil Spence created a scheme for the Civic Centre, including a library and Swiss Cottage Sports Centre. The dissolving of the Metropolitan Borough of Hampstead into the larger London Borough of Camden as part of the London Government Act 1963 brought complications to the scheme, with Camden Council instead wanting to focus on its Euston Road developments; Spence described the fate of the project as being "in the lap of the Gods". As Hampstead's final major infrastructure project, the original masterplan was downgraded to simply include a sports centre and library. Furthermore, the library, which was originally intended to be built next to Winchester Road, was instead moved to be beside Avenue Road. Queen Elizabeth II opened the library as Hampstead Public Library on the 10 November 1964, the same week in which she opened a library for the University of Sussex, also designed by Basil Spence. On opening, the library superseded Finchley Road Library as Hampstead's Central Library. Present at the opening were Councillor Luigi Carlo Denza, then Mayor of Hampstead, Basil Spence and Sir Edwin McAlpine, acting head of the library's construction firm at the time.

Paragraph 26: The Karnali (Chisapani) Multipurpose Project is a potential mega multipurpose storage project on the Karnali River at Chisapani, envisaging a  high dam, with reservoir area of , with power station operating under a design head of  to operate 18 units of 620 MW capacity each ( 10,800 MW installed capacity) and with a re-regulating weir downstream with power plant of 84 MW capacity operating under a head of . A large-scale irrigation development is also envisaged— in Nepal and  in India. Project planning commenced in 1960, although the feasibility study for the project was only completed in 1989. Before this project is developed a number of significant underlying issues have to be resolved. These issues include: Nepal and India reaching a bilateral agreement on the downstream benefits of regulated river flows; the resettlement of over 60,000 people; the impact on and restoration of habitat within Bardia National Park; and, above all, the financial arrangements for project funding. Accordingly, it is predicted that the chances of this project being implemented before 2025 are very slim, although increasing international pressure on reducing greenhouse gas (GHG) emissions from the energy generation sector may assist project initiation. While the likelihood of this project being developed by 2025 is low, Nepal and India could cooperate to develop this project to meet India's growing energy demand from renewable resources.

Paragraph 27: He was born on 20 March 1680 in Augusta, Sicily. No authentic account of Astorga's life can be successfully constructed from the obscure and confusing evidence that has been until now handed down, although historians have not failed to indulge many pleasant conjectures. According to Volkmann his father, a baron of Sicily, took an active part in the attempt to throw off the Spanish yoke, but was betrayed by his own soldiers and publicly executed. His wife and son were compelled to be spectators of his fate; and such was the effect upon them that his mother died on the spot, and Emanuele fell into a state of gloomy despondency, which threatened to deprive him of reason. By the kindness of the Princess of Ursini, the unfortunate young man was placed in a convent at Astorga, in León, where he completed a musical education which is said to have been begun in Palermo under Francesco Scarlatti. Here he recovered his health, and his admirable musical talents were cultivated under the best masters. On the details of this account no reliance can safely be placed, nor is there any certainty that in 1703, he entered the service of the Duke of Parma.

Paragraph 28: The name change signaled more than the organization's expansion around the Pacific. In a 1970 report, PCS activists explained that much of their work was "directed towards the support of non-white GIs." They recognized that "a disproportionately high number of service personnel are…members of the black, brown or third world communities." And nonwhite GIs received "twice as many" courts martial and non-judicial punishments as white GI. Just as other left activists of the period were looking beyond the U.S. and taking "inspiration from liberation movements around the world", PCS and other GI movement organizers began to move beyond mainly antiwar politics to embrace "antiracist and anti-imperialist consciousness" and to work towards instilling this among GIs. As they put it in a 1974 pamphlet "our efforts must go beyond the short range goal of ending the war and must focus on building the movement to create a new society." Expanding to Asia, they felt, would allow them to organize GIs overlooked stateside while building alliances between GIs and Asian activists. This expansion also helped them recognize "the Vietnam War as a phase of a larger history of the US empire." To implement this, PCS moved beyond mainly legal counseling and discharge advice to offering a more GI Coffeehouse-like environment where GIs could "talk about politics and society, read underground papers and historical and political books not available on bases," as well as meet young men and women "not part of the rip-off honky-tonk environment" around U.S. bases, particularly in Asia. At the Iwakuni office, PSC organized "rock concerts, camping and beach trips" and helped GIs put out an underground newspaper called Semper Fi. Working together with Japanese antiwar activists they developed slogans such as "Break up the American military system. Stop the war machine!" PCS was also instrumental in establishing a women's center in Okanawa, which reflected the growing understanding of women's issues within the progressive movements of the times. The Women's House, "became a center for living, counseling, consciousness-raising groups, and formulating actions and solutions to common problems." And "was the only place of its kind serving the needs of women in the military, military wives and daughters (over 35,000 in Okinawa alone), women employed by the DOD, civilian women working with the GI projects, and Asian women whose work ties them to U.S. bases as baseworkers, prostitutes, and maids." PCS published a women's journal at two of its Asian offices.

Paragraph 29: West Germany, Prime Minister Pierre Trudeau of Canada, King Hussein of Jordan, and King Zahir Shah of Afghanistan. Payal, a dynamic thirteen-episode visual encyclopedia, aired in 1978, to date remains the only such endeavor in Pakistan in which Nahid Siddiqui collaborated with classical musicians, creating a masterpiece, which shed light on Kathak in a society where there was very little awareness of this art. Payal, however, was banned and taken off air by the military regime after its sixth episode was aired on TV. Nahid Siddiqui has since been symbolic of resistance against extremist ideologies, beautifully using her art to exemplify Islamic culture in a way not seen before. This production is now viewed and studied by ardent Kathak dancers around the world. In England, where she lived in exile, Nahid Siddiqui inculcated the paradigms of Islamic geometry, Sufi poetry, Persian, Arab and Turkic influences in Kathak. Through the in-depth understanding of Islamic geometry, Nahid Siddiqui has greatly enhanced the visual vocabulary of Kathak by striving to find the perfect posture and body alignment to paint evocative lines and compositions. She is one of the very few Kathak dancers' who is renowned for her finesse and immense sophistication in movement. While in England, she provided her students a different perspective of Kathak, which was and is still not being explored in India. In England, she became the first Pakistani to teach at the Bharatiya Vidya Bhavan, (Indian Cultural Centre). She began her teaching career at the Midlands Arts Centre, Birmingham. She launched her dance company and since then has continued to produce professional dancers, some of whom have gone on launch their own companies in England and around the world. Those worth mentions include Late Jahanara Akhlaq, Sonia Kundi, and Simmi Gupta. It is noteworthy to mention that while she was teaching dance in England, she received patronage from the Art Council from 1990 onwards and trained many dancers of western descent. In times of violence, in a country facing an identity crisis, where ancient cultural teachings have been left to decay, she revisited her roots in Pakistan to do her bidding. By showing young Pakistanis the beauty of the ancient arts in a modern and free environment, she gives nourishment to a true culture of the East. Unlike general Kathak endeavors in Pakistan, her technique has a proper curriculum, which in its physical aspect is as strict as ballet. Nahid Siddiqui has been holding lecture demonstrations and workshops in Pakistan. Since 2005, she has taught Kathak at the privately run Lahore Chitrakar and in the department of Musicology at the National College of Arts, Lahore. She has also worked extensively with the prestigious Agha Khan University in Karachi and held workshops there. She continues to live in Lahore, Pakistan and keeps dance alive by holding routine performances for the young audience. She is running her own organization named Nahid Siddiqui Foundation, which works for Dance, Yoga, and Music.

Paragraph 30: West Germany, Prime Minister Pierre Trudeau of Canada, King Hussein of Jordan, and King Zahir Shah of Afghanistan. Payal, a dynamic thirteen-episode visual encyclopedia, aired in 1978, to date remains the only such endeavor in Pakistan in which Nahid Siddiqui collaborated with classical musicians, creating a masterpiece, which shed light on Kathak in a society where there was very little awareness of this art. Payal, however, was banned and taken off air by the military regime after its sixth episode was aired on TV. Nahid Siddiqui has since been symbolic of resistance against extremist ideologies, beautifully using her art to exemplify Islamic culture in a way not seen before. This production is now viewed and studied by ardent Kathak dancers around the world. In England, where she lived in exile, Nahid Siddiqui inculcated the paradigms of Islamic geometry, Sufi poetry, Persian, Arab and Turkic influences in Kathak. Through the in-depth understanding of Islamic geometry, Nahid Siddiqui has greatly enhanced the visual vocabulary of Kathak by striving to find the perfect posture and body alignment to paint evocative lines and compositions. She is one of the very few Kathak dancers' who is renowned for her finesse and immense sophistication in movement. While in England, she provided her students a different perspective of Kathak, which was and is still not being explored in India. In England, she became the first Pakistani to teach at the Bharatiya Vidya Bhavan, (Indian Cultural Centre). She began her teaching career at the Midlands Arts Centre, Birmingham. She launched her dance company and since then has continued to produce professional dancers, some of whom have gone on launch their own companies in England and around the world. Those worth mentions include Late Jahanara Akhlaq, Sonia Kundi, and Simmi Gupta. It is noteworthy to mention that while she was teaching dance in England, she received patronage from the Art Council from 1990 onwards and trained many dancers of western descent. In times of violence, in a country facing an identity crisis, where ancient cultural teachings have been left to decay, she revisited her roots in Pakistan to do her bidding. By showing young Pakistanis the beauty of the ancient arts in a modern and free environment, she gives nourishment to a true culture of the East. Unlike general Kathak endeavors in Pakistan, her technique has a proper curriculum, which in its physical aspect is as strict as ballet. Nahid Siddiqui has been holding lecture demonstrations and workshops in Pakistan. Since 2005, she has taught Kathak at the privately run Lahore Chitrakar and in the department of Musicology at the National College of Arts, Lahore. She has also worked extensively with the prestigious Agha Khan University in Karachi and held workshops there. She continues to live in Lahore, Pakistan and keeps dance alive by holding routine performances for the young audience. She is running her own organization named Nahid Siddiqui Foundation, which works for Dance, Yoga, and Music.

Paragraph 31: Jae Lee's first work for Marvel Comics was a Beast serial in Marvel Comics Presents #85–92 (1991). He first rose to prominence in the industry in 1992 for his work on Marvel's Namor the Sub-Mariner, taking over the art duties from John Byrne, who continued on the series as writer. Terry Kavanagh, Lee's editor on both Marvel Comics Presents and Namor, later said he assigned Lee to Namor because he liked his style and felt that, as a new artist, he would benefit from working with an experienced writer. Lee continued when Bob Harras became the writer, drawing issues #26–38 (May 1992–May 1993). As penciller of X-Factor, Lee was one of the artists of the "X-Cutioner's Song" storyline which ran throughout the X-Men titles in 1992. The following year, Lee drew the three issue Youngblood Strikefile for Rob Liefeld's Extreme Studios at Image Comics and the three issue WildC.A.T.s Trilogy for Jim Lee's WildStorm, another founding Image Comics studio. In 1994, Jae Lee produced a creator-owned Image Comics series, Hellshock, a story about a fallen angel that he wrote and illustrated.

Paragraph 32: The Sultan of Makyad enrols his daughter Fatima at St. Trinian's - a girl's school in England, run by its headmistress Millicent Fritton. Upon her arrival, she discovers that Millicent runs the school to prepare her students to succeed in a merciless world by having her students fight against authoritative figures in both the police and the government. Many of the girls are unruly and have criminal relations; as a result, the school's curriculum focuses mainly on lessons in crime and illicit schemes, all while the students thwart efforts by the local police and the Ministry of Education (a fictional British government department) to shut down the school. Millicent, however, faces problems as St. Trinian's is on the verge of bankruptcy, and seeks any means to clear the school's debt.

Paragraph 33: Jae Lee's first work for Marvel Comics was a Beast serial in Marvel Comics Presents #85–92 (1991). He first rose to prominence in the industry in 1992 for his work on Marvel's Namor the Sub-Mariner, taking over the art duties from John Byrne, who continued on the series as writer. Terry Kavanagh, Lee's editor on both Marvel Comics Presents and Namor, later said he assigned Lee to Namor because he liked his style and felt that, as a new artist, he would benefit from working with an experienced writer. Lee continued when Bob Harras became the writer, drawing issues #26–38 (May 1992–May 1993). As penciller of X-Factor, Lee was one of the artists of the "X-Cutioner's Song" storyline which ran throughout the X-Men titles in 1992. The following year, Lee drew the three issue Youngblood Strikefile for Rob Liefeld's Extreme Studios at Image Comics and the three issue WildC.A.T.s Trilogy for Jim Lee's WildStorm, another founding Image Comics studio. In 1994, Jae Lee produced a creator-owned Image Comics series, Hellshock, a story about a fallen angel that he wrote and illustrated.

Answer: 18