Paragraph 1: Viollet joined Manchester United on 1 September 1949. He came through the junior ranks at United and turned professional in 1950. His first game for the club came against Newcastle United on 11 April 1953. One of his most notable games came on 26 September 1956, in the second leg of United's European Cup preliminary round tie against Belgian champions Anderlecht, in which he scored four goals in a 10–0 win that remains United's biggest competitive victory. In February 1958, Viollet was flying back from a European Cup match in Belgrade via Munich; attempting to take off in bad weather, the plane crashed, killing 21 people, including seven Manchester United players, in what would become known as the Munich air disaster. Viollet survived, suffering only injuries to his head and face, and he returned to action before the end of the season, less than three months later. He played in the 1958 FA Cup Final against Bolton Wanderers, which United lost 2–0, and less than a week later, he scored the equalising goal in a 2–1 win over Milan in the first leg of their European Cup semi-final; Milan won the second leg 4–0 to deny United a place in the final.

Paragraph 2: Viollet joined Manchester United on 1 September 1949. He came through the junior ranks at United and turned professional in 1950. His first game for the club came against Newcastle United on 11 April 1953. One of his most notable games came on 26 September 1956, in the second leg of United's European Cup preliminary round tie against Belgian champions Anderlecht, in which he scored four goals in a 10–0 win that remains United's biggest competitive victory. In February 1958, Viollet was flying back from a European Cup match in Belgrade via Munich; attempting to take off in bad weather, the plane crashed, killing 21 people, including seven Manchester United players, in what would become known as the Munich air disaster. Viollet survived, suffering only injuries to his head and face, and he returned to action before the end of the season, less than three months later. He played in the 1958 FA Cup Final against Bolton Wanderers, which United lost 2–0, and less than a week later, he scored the equalising goal in a 2–1 win over Milan in the first leg of their European Cup semi-final; Milan won the second leg 4–0 to deny United a place in the final.

Paragraph 3: St Philip's Anglican Church in Thompson Estate (as the area was then known) was dedicated on 18 October 1886 by Archbishop of Brisbane William Webber. It was designed by architect John Henry Burley and was built by J.W. Stranson. The church bell was a gift of Abraham Fleetwood Luya and the baptismal font was the gift of stonemason Andrew Lang Petrie. On 7 December 1905, the church was "reduced to ruin" by a severe storm which caused extensive flooding and the death of two children. It was extended and re-dedicated on 1 April 1906 by St. Clair Donaldson, Archbishop of Brisbane, with Henry Wallace Atkinson as architect. The old church was destroyed by fire 28 November 1954 after work on the new church had begun. The current church was consecrated by the Archbishop Reginald Halse on 1 December 1955. It is listed on the Brisbane Heritage Register. There were at least two parishioners that lost their lives at Gallipoli. "At St Philips we know of only two of our parishioners who were part of this landing at Gallipoli who later died on 5 April 1918 in France. The two were good mates and brother and brother in law. They died on the same day in the same battle recorded by the historian Charles Bean. ....Reginald Verry and his brother in law James Victor Atkinson." A state funeral was held at the church for Gordon Brown who was a Senator for Queensland from 1932 to 1965 (as a member of the Australia Labor Party); his ashes are kept in the church's columbarium.

Paragraph 4: Moon founded The Washington Times in Washington D.C. as a part of his international media conglomerate News World Communications in the same year Inchon was released. According to The Times''' rival The Washington Post, a full-length two and a half page version of a film review of Inchon written by critic Scott Sublett that was originally planned for the September 16, 1982 issue of The Times was killed by the newspaper's publisher and editor James R. Whelan. Whelan told Sublett that The Times had a conflict of interest with regard to reviewing Inchon, and would not print his review. Instead, The Times printed a one-paragraph critical synopsis of the film, also written by Sublett, which said in full: "Puerile dialogue, perfunctory acting and haphazard construction doom from the start this visually impressive would-be epic about love and dead Reds in wartime Korea. Olivier (in a performance that is the nadir of his career) joshes, minces and rolls his eyes absurdly as Doug MacArthur. The script, by Robin Moore, is pure twaddle – a cross between South Pacific and The Green Berets." Moore is the author of the novel The Green Berets, upon which the 1968 movie was based. On September 21, The Washington Times printed The New York Times′ review of the film. Reviewers Gene Siskel and Roger Ebert selected the film as one of the worst of the year in a 1982 episode of their program Sneak Previews.

Paragraph 5:  2–3 September 2021:    (Rome, Vatican), PM Šimonytė met with prime minister of Italy Mario Draghi in Rome and discussed the strengthening of bilateral relations and economic cooperation, security, the situation in Afghanistan, Belarus and Russia, also the European Union's relations with China. The prime ministers focused on the irregular migration and the situation on the Lithuania-Belarus border. Together they also stressed the need to strengthen the transatlantic relations, discussed the possibilities of strengthening the bilateral relations, while particularly focusing on economic cooperation. EU challenges of illegal migration were also on the meeting agenda. The counterparts agreed that both Lithuania and Italy are strong supporters of European integration and that they care about the future of the EU, which should build on the principles of solidarity and strong European values. The situation in Afghanistan was also discussed at large, including the evacuation of Afghans who had helped Lithuania and Italy, the security situation in the country, the importance of the efforts of the international community in preventing a possible humanitarian crisis in Afghanistan. The prime ministers of Lithuania and Italy also discussed the prospects for EU-China relations. PM Šimonytė noted that talks with China should take place in non-divisive for Europe formats. As part of her visit to Italy, the prime minister of Lithuania met also with the senior management of Italian life sciences companies and Lithuanian community in Italy. At the Galleria Nazionale d'Arte Moderna, the PM of Lithuania visited an exhibition of works by Antonietta Raphaël Mafai, a well-known Litvak artist.As part of the visit to Italy, prime minister Ingrida Šimonytė met with Pope Francis in Vatican. This was the first meeting between the prime minister and the Pope. The prime minister thanked the Pope for his consistent attention to Lithuania and its people. PM Šimonytė also expressed support for the activities of the Holy See and of the Pope aimed at promoting peace in the world, advocating for greater respect for women, protection of the environment, and the principles of human dignity. Lithuania supports the actions of the Holy See in Ukraine, therefore, on behalf of Lithuania, the prime minister handed over 10 000 euros to the Pope for Ukraine Foundation. After the meeting with Pope Francis, she met with the Secretary of State of Holy See Cardinal Pietro Parolin and with Secretary for Relations with States of Holy See the Archbishop Paul Richard Gallagher to discuss the bilateral relations and international policy.PM Šimonytė also met with Grand Chancellor of the Order of Malta Albrecht Freiherri von Boeselager in Rome to discuss the bilateral relations and the activities of the Order in Lithuania. The meeting also covered irregular migration across the Lithuania-Belarus border and the activities of the Order of Malta in this regard.

Paragraph 6: Sixteen year old Sequin is queer and comfortable with his sexuality and has a healthy relationship with his father. He prefers anonymous and unconditional sexual encounters over having a serious and meaningful relationship. Sequin meets his one-night-stands through a dating app, and quickly ghosts them after their sexual liaison, in order to remain emotionally detached. But that all changes when he has a sexual encounter with B, a much older married man, who becomes obsessed with him and wants to meet up with him again. Back in school, he is asked out on a traditional date by Tommy who has a crush on him, and Sequin accepts. When Sequin gets invited by D to a group sex party at 'The Blue Room', B spots him and begins chasing him, until he is suddenly rescued by Edward, who he then has sex with. Immediately afterwards, Edward leaves telling Sequin to find him "out there", but he doesn't know who he is or anything about him, so he decides to track him down. After returning home from the sex party, Tommy arrives for their date, but Sequin has forgotten about it and blows him off. The next day he hesitantly reconnects with B, and has sex with him again in order to steal his phone to look for clues about The Blue Room. But after his wife keeps on calling the phone now in Sequin's possession, B starts stalking Sequin and pursuing him in order to get his phone back. Later, Sequin finds some contacts in the phone which lead him to an encounter with Virginia, a drag queen, who he ends up getting high with. Sequin is so wasted that he doesn't go home, and his dad gets mad and messages him that he has been kicked out. Near the end, he gets tricked into returning to The Blue Room based on false information on how to find Edward, but when he arrives, he is ambushed by B who savagely beats him. Having nowhere to go, he returns to Virginia's place, where he nurses his wounds, and they end up discussing his obsession with finding Edward. Virginia reveals information that leads to Sequin finally finding Edward, but when he follows him home, he discovers that Edward is in a relationship already. In the end, he reconciles with his dad and goes home, and the final scene shows Sequin and Tommy in his room watching Twilight together.

Paragraph 7: Jake Swirbul and Leroy Grumman met in 1924 at Loening Aeronautical Engineering Co. in New York City, one of the many small aircraft firms that sprang up after World War I. When the firm's Manhattan factory was closed after its sale to Keystone Aircraft in 1929, Swirbul and Grumman decided to form their own company. Grumman mortgaged his house to contribute $16,875, and Swirbul contributed $8,125. Two other Loening employees, William Schwendler and Edmund Ward Poor, contributed a little and former Wall Street banker E. Clinton Towl made up the fifth employee of Grumman Aircraft Engineering Corporation, formed January 2, 1930. Swirbul was the production manager, who understood the dynamics of mass production. He was responsible for the huge output of World War II and was equally adept in ramping down production at the end of the war to ensure the company's survival. Jake found his solutions on a personal, rather than an abstract level. He was always known as a hands on  manager who could get the most out of his workers while treating them with friendship and respect. While Roy Grumman was always referred to as "Mr. Grumman", Jake was always Jake and could be seen out on the shop floor conversing with his men, while checking progress. Grumman was the only manufacturer to start the 1950s in the black. Jake Swirbul died of pneumonia while ill with colon cancer on June 28, 1960, shortly after Grumman began work on the Gemini program and one month after the roll-out ceremony for the A-6 Intruder.

Paragraph 8: Jake Swirbul and Leroy Grumman met in 1924 at Loening Aeronautical Engineering Co. in New York City, one of the many small aircraft firms that sprang up after World War I. When the firm's Manhattan factory was closed after its sale to Keystone Aircraft in 1929, Swirbul and Grumman decided to form their own company. Grumman mortgaged his house to contribute $16,875, and Swirbul contributed $8,125. Two other Loening employees, William Schwendler and Edmund Ward Poor, contributed a little and former Wall Street banker E. Clinton Towl made up the fifth employee of Grumman Aircraft Engineering Corporation, formed January 2, 1930. Swirbul was the production manager, who understood the dynamics of mass production. He was responsible for the huge output of World War II and was equally adept in ramping down production at the end of the war to ensure the company's survival. Jake found his solutions on a personal, rather than an abstract level. He was always known as a hands on  manager who could get the most out of his workers while treating them with friendship and respect. While Roy Grumman was always referred to as "Mr. Grumman", Jake was always Jake and could be seen out on the shop floor conversing with his men, while checking progress. Grumman was the only manufacturer to start the 1950s in the black. Jake Swirbul died of pneumonia while ill with colon cancer on June 28, 1960, shortly after Grumman began work on the Gemini program and one month after the roll-out ceremony for the A-6 Intruder.

Paragraph 9:  The tuned mass damper system was used by several teams, notably Renault, during the latter part of 2005 and the 2006 seasons. The devices were located in the nosecone, and were particularly effective in corners and over kerbs to keep the tyres in closer contact to the track surface than they would otherwise be. After the French Grand Prix, the FIA announced that the system would be outlawed. This had a particularly significant effect on Renault, as the team had effectively built their cars around the devices, and had introduced them as long ago as the 2005 Brazilian Grand Prix. At the German Grand Prix the Renault team submitted one of their cars for scrutineering by the race stewards, who ruled that the devices were acceptable. The FIA launched an appeal against this decision, and on 23 August 2006 the FIA International Court of Appeal issued a statement upholding this appeal and rejecting the stewards' decision. The Court of Appeal stated that the system infringed part of the bodywork section (Article 3.15) of the Formula One Technical Regulations, which stated that any specific part of the car influencing its aerodynamic performance had to: comply with the rules relating to bodywork, be rigidly secured to the entirely sprung part of the car (rigidly secured means not having any degree of freedom), and remain immobile in relation to the sprung part of the car. The central argument was whether the mass dampers function as aerodynamic devices or as a part of the suspension system. The FIA reasoned that because the devices did not "remain immobile in relation to the sprung part of the car", they were illegal. But the FIA failed to explain how the damper, which was entirely enclosed with the car can be counted as bodywork when article 1.4 of the regulations defined bodywork as:

Paragraph 10:  2–3 September 2021:    (Rome, Vatican), PM Šimonytė met with prime minister of Italy Mario Draghi in Rome and discussed the strengthening of bilateral relations and economic cooperation, security, the situation in Afghanistan, Belarus and Russia, also the European Union's relations with China. The prime ministers focused on the irregular migration and the situation on the Lithuania-Belarus border. Together they also stressed the need to strengthen the transatlantic relations, discussed the possibilities of strengthening the bilateral relations, while particularly focusing on economic cooperation. EU challenges of illegal migration were also on the meeting agenda. The counterparts agreed that both Lithuania and Italy are strong supporters of European integration and that they care about the future of the EU, which should build on the principles of solidarity and strong European values. The situation in Afghanistan was also discussed at large, including the evacuation of Afghans who had helped Lithuania and Italy, the security situation in the country, the importance of the efforts of the international community in preventing a possible humanitarian crisis in Afghanistan. The prime ministers of Lithuania and Italy also discussed the prospects for EU-China relations. PM Šimonytė noted that talks with China should take place in non-divisive for Europe formats. As part of her visit to Italy, the prime minister of Lithuania met also with the senior management of Italian life sciences companies and Lithuanian community in Italy. At the Galleria Nazionale d'Arte Moderna, the PM of Lithuania visited an exhibition of works by Antonietta Raphaël Mafai, a well-known Litvak artist.As part of the visit to Italy, prime minister Ingrida Šimonytė met with Pope Francis in Vatican. This was the first meeting between the prime minister and the Pope. The prime minister thanked the Pope for his consistent attention to Lithuania and its people. PM Šimonytė also expressed support for the activities of the Holy See and of the Pope aimed at promoting peace in the world, advocating for greater respect for women, protection of the environment, and the principles of human dignity. Lithuania supports the actions of the Holy See in Ukraine, therefore, on behalf of Lithuania, the prime minister handed over 10 000 euros to the Pope for Ukraine Foundation. After the meeting with Pope Francis, she met with the Secretary of State of Holy See Cardinal Pietro Parolin and with Secretary for Relations with States of Holy See the Archbishop Paul Richard Gallagher to discuss the bilateral relations and international policy.PM Šimonytė also met with Grand Chancellor of the Order of Malta Albrecht Freiherri von Boeselager in Rome to discuss the bilateral relations and the activities of the Order in Lithuania. The meeting also covered irregular migration across the Lithuania-Belarus border and the activities of the Order of Malta in this regard.

Paragraph 11: Sify gave 3.5 out of 5 and wrote that "Desingh Periyasamy has delivered an enjoyable romantic entertainer with enough brainy moments that keeps you hooked till the end. Though the film is lengthy compared to the current 120 minutes trend, it manages to keep us engaged." Writing for First Post, Sreedhar Pillai gave 3.25 stars out of five and said that "Kannum Kannum Kollaiyadithaal looks fresh, and is an enjoyable rom-com or more appropriately, a rip-roaring con ride, mainly owing to its smart writing." Anupama Subramanian for  Deccan Chronicle wrote that, "Debutant director Desingh Periyasamy's Kannum Kannum Kollaiyadithaal is a synthesis of a rom-com and a modern crime caper, without any pretence or preachiness. So it makes for a fun-filled ride."Behindwoods rated 2.75 out of 5 stars stating "Kannum Kannum Kollaiyadithal works majorly due to the twists and Dulquer's performance. An interesting Gautham Menon moment in the preclimax acts as an icing on the cake". The Hindu stated "Director Desingh Periyasamy does a commendable job of putting together a film that lets the script be hero, and keeps you guessing and entertained". The New Indian Express stated "This film also reminded me of a film like Catch Me If You Can, with a serious cop being in pursuit of some impish criminals who are a step ahead all the time". India Today rated 2 out of 5 stars stating "Kannum Kannum Kollaiyadithaal is interesting in a few places, thanks to the cat-and-mouse game between the lead characters. If you are willing to look past the superficial elements in the film, there's a nice story lying there on the side". Film Companion stated "It's how the film interprets Gautham Vasudev Menon's character — essentially GVM playing a GVM hero — that becomes a gift that keeps giving". Deccan Chronicle stated "Overall, Kannum Kannum Kollaiyadithaal is a fine outing for a first-timer worth watching".Baradwaj Rangan of Film Companion South wrote "I wish this had been a better movie, though. It needed to be shorter, tighter, far better staged. But most importantly, the twisty plotting needed to be much more convincing in taking us from A to G to K to C. But at a generic level (and sometimes, a bit more), it’s not bad at all." Rajinikanth called and appreciated Desingh Periyasamy. He also expressed his interest in doing a film with Desingh. Sowmya Rajendran from The News Minute Wrote that "Despite the lengthy runtime of 2 hours and 40 minutes, Kannum Kannum stays enjoyable for the most part. It may not blow your mind, but it’s good, harmless fun and god knows, the audience needs more of that"

Paragraph 12: Viollet joined Manchester United on 1 September 1949. He came through the junior ranks at United and turned professional in 1950. His first game for the club came against Newcastle United on 11 April 1953. One of his most notable games came on 26 September 1956, in the second leg of United's European Cup preliminary round tie against Belgian champions Anderlecht, in which he scored four goals in a 10–0 win that remains United's biggest competitive victory. In February 1958, Viollet was flying back from a European Cup match in Belgrade via Munich; attempting to take off in bad weather, the plane crashed, killing 21 people, including seven Manchester United players, in what would become known as the Munich air disaster. Viollet survived, suffering only injuries to his head and face, and he returned to action before the end of the season, less than three months later. He played in the 1958 FA Cup Final against Bolton Wanderers, which United lost 2–0, and less than a week later, he scored the equalising goal in a 2–1 win over Milan in the first leg of their European Cup semi-final; Milan won the second leg 4–0 to deny United a place in the final.

Paragraph 13: Gregory was born in Ballybough on Dublin's Northside, the second child of Anthony Gregory and Ellen Gregory (née Judge). His mother, born in 1904 in Croghan, County Offaly, had moved to Dublin to work as a waitress, while his father, born in the North Strand area of Dublin, worked as a warehouseman in Dublin Port. His family originally lived in a one-room apartment in Charleville Street. The family applied to be housed by Dublin Corporation but were denied, with an official saying "come back when you have six [children]". The incident left an impression on Gregory, and he would refer to it in interviews later in life. The family was able later to move to a house in Sackville Gardens, near the Royal Canal, using money they had saved. Gregory won a Dublin Corporation scholarship to the Christian Brothers’ O'Connell School. He later went on to University College Dublin (UCD), where he received a Bachelor of Arts degree and later a Higher Diploma in Education, funding his degree from summer work at the Wall's ice cream factory in Acton, London. Initially working at Synge Street CBS, Gregory later taught at Coláiste Eoin, an Irish-language secondary school in Booterstown, where he taught history and French. His students both at Synge Street and Coláiste Eoin included John Crown, Colm Mac Eochaidh, Aengus Ó Snodaigh and Liam Ó Maonlaí.

Paragraph 14: Sixteen year old Sequin is queer and comfortable with his sexuality and has a healthy relationship with his father. He prefers anonymous and unconditional sexual encounters over having a serious and meaningful relationship. Sequin meets his one-night-stands through a dating app, and quickly ghosts them after their sexual liaison, in order to remain emotionally detached. But that all changes when he has a sexual encounter with B, a much older married man, who becomes obsessed with him and wants to meet up with him again. Back in school, he is asked out on a traditional date by Tommy who has a crush on him, and Sequin accepts. When Sequin gets invited by D to a group sex party at 'The Blue Room', B spots him and begins chasing him, until he is suddenly rescued by Edward, who he then has sex with. Immediately afterwards, Edward leaves telling Sequin to find him "out there", but he doesn't know who he is or anything about him, so he decides to track him down. After returning home from the sex party, Tommy arrives for their date, but Sequin has forgotten about it and blows him off. The next day he hesitantly reconnects with B, and has sex with him again in order to steal his phone to look for clues about The Blue Room. But after his wife keeps on calling the phone now in Sequin's possession, B starts stalking Sequin and pursuing him in order to get his phone back. Later, Sequin finds some contacts in the phone which lead him to an encounter with Virginia, a drag queen, who he ends up getting high with. Sequin is so wasted that he doesn't go home, and his dad gets mad and messages him that he has been kicked out. Near the end, he gets tricked into returning to The Blue Room based on false information on how to find Edward, but when he arrives, he is ambushed by B who savagely beats him. Having nowhere to go, he returns to Virginia's place, where he nurses his wounds, and they end up discussing his obsession with finding Edward. Virginia reveals information that leads to Sequin finally finding Edward, but when he follows him home, he discovers that Edward is in a relationship already. In the end, he reconciles with his dad and goes home, and the final scene shows Sequin and Tommy in his room watching Twilight together.

Paragraph 15: It is important to realize that the mechanics of the refugee rescue plan in Manila involved many different people and agencies in the Philippines, in the United States, and in Germany. The refugee rescue plan also had some opponents. In 1938, Emilio Aguinaldo was quoted to hold antisemitic beliefs in his opposition to Quezon's plan to shelter Jews in the Philippines. While it was important to have the cooperation and consent of President Quezon in this refugee rescue plan, all issues of Philippine foreign affairs was still totally in the hands of the U.S. State Department and would be until the Philippines was granted independence in 1946. What is unique to the rescue of refugee Jews in the Philippines is that the Jewish Community in Manila was granted authority by High Commissioner Paul McNutt and Philippine President Quezon to operate a selection committee to choose those who would be granted visas by the U.S. State Department. By an application and review process, Jewish refugees in Germany and Austria obtained visas for immigration from U.S. consular officers who had been instructed by the U.S. State Department to issue visas based on recommendations from the JRC in Manila. This successful Frieder-McNutt selection rescue plan led to the larger resettlement rescue plan that focused on the island of Mindanao as a destination for the mass resettlement of 10,000 refugee Jews. For the refugees who did manage to settle in the Philippines, the JRC organised committees to aid in finding employment and new homes for them in Manila. Though relatively modest in numbers when compared to the number of refugees worldwide, the newly arrived refugees nearly overwhelmed the small Jewish community of Manila, multiplying its numbers relatively overnight. An ironic turn of events occurred when all rescue plans halted with the invasion and occupation of the Philippines during WWII.

Paragraph 16: Kneale's concept concerned "the world of the future, and a way of keeping the population happy without being active". According to Kneale, the notion for the play came from the "worldwide dread of populations exploding out of all control" leading him to devise a world where pornography hooks the population "on a substitute for sex rather than the real thing and so keeping the population down". Kneale was also influenced by the dropout counterculture of the late 1960s; he later recalled, "I didn't like the Sixties at all because of the whole thing of 'let it all hang out' and let's stop thinking [...] which was the all too frequent theme of the Sixties which I hated". Dissatisfaction with the youth culture of the time was a preoccupation of Kneale's—in the mid-sixties he had worked on The Big, Big, Giggle, an unmade script about a teenage suicide cult, and following The Year of the Sex Olympics he returned to the theme of youth out of control in his 1969 play Bam! Pow! Zapp!, and in the fourth and final Quatermass serial in 1979. Many cultural icons of the youth movement, including members of the Beatles, Pink Floyd and Monty Python, were fans of Kneale's work. For The Year of the Sex Olympics Kneale extrapolated the possible consequences of the youth movement's desire for freedom from "traditional" cultural inhibitions, asking, as the academic John R. Cook puts it, "In a world of no limits, will the result quickly be apathy if there is nothing any more to get excited about, nothing precious or illicit to fight for in the teeth of the censor?".

Paragraph 17: Kneale's concept concerned "the world of the future, and a way of keeping the population happy without being active". According to Kneale, the notion for the play came from the "worldwide dread of populations exploding out of all control" leading him to devise a world where pornography hooks the population "on a substitute for sex rather than the real thing and so keeping the population down". Kneale was also influenced by the dropout counterculture of the late 1960s; he later recalled, "I didn't like the Sixties at all because of the whole thing of 'let it all hang out' and let's stop thinking [...] which was the all too frequent theme of the Sixties which I hated". Dissatisfaction with the youth culture of the time was a preoccupation of Kneale's—in the mid-sixties he had worked on The Big, Big, Giggle, an unmade script about a teenage suicide cult, and following The Year of the Sex Olympics he returned to the theme of youth out of control in his 1969 play Bam! Pow! Zapp!, and in the fourth and final Quatermass serial in 1979. Many cultural icons of the youth movement, including members of the Beatles, Pink Floyd and Monty Python, were fans of Kneale's work. For The Year of the Sex Olympics Kneale extrapolated the possible consequences of the youth movement's desire for freedom from "traditional" cultural inhibitions, asking, as the academic John R. Cook puts it, "In a world of no limits, will the result quickly be apathy if there is nothing any more to get excited about, nothing precious or illicit to fight for in the teeth of the censor?".

Paragraph 18: Moon founded The Washington Times in Washington D.C. as a part of his international media conglomerate News World Communications in the same year Inchon was released. According to The Times''' rival The Washington Post, a full-length two and a half page version of a film review of Inchon written by critic Scott Sublett that was originally planned for the September 16, 1982 issue of The Times was killed by the newspaper's publisher and editor James R. Whelan. Whelan told Sublett that The Times had a conflict of interest with regard to reviewing Inchon, and would not print his review. Instead, The Times printed a one-paragraph critical synopsis of the film, also written by Sublett, which said in full: "Puerile dialogue, perfunctory acting and haphazard construction doom from the start this visually impressive would-be epic about love and dead Reds in wartime Korea. Olivier (in a performance that is the nadir of his career) joshes, minces and rolls his eyes absurdly as Doug MacArthur. The script, by Robin Moore, is pure twaddle – a cross between South Pacific and The Green Berets." Moore is the author of the novel The Green Berets, upon which the 1968 movie was based. On September 21, The Washington Times printed The New York Times′ review of the film. Reviewers Gene Siskel and Roger Ebert selected the film as one of the worst of the year in a 1982 episode of their program Sneak Previews.

Paragraph 19: Kneale's concept concerned "the world of the future, and a way of keeping the population happy without being active". According to Kneale, the notion for the play came from the "worldwide dread of populations exploding out of all control" leading him to devise a world where pornography hooks the population "on a substitute for sex rather than the real thing and so keeping the population down". Kneale was also influenced by the dropout counterculture of the late 1960s; he later recalled, "I didn't like the Sixties at all because of the whole thing of 'let it all hang out' and let's stop thinking [...] which was the all too frequent theme of the Sixties which I hated". Dissatisfaction with the youth culture of the time was a preoccupation of Kneale's—in the mid-sixties he had worked on The Big, Big, Giggle, an unmade script about a teenage suicide cult, and following The Year of the Sex Olympics he returned to the theme of youth out of control in his 1969 play Bam! Pow! Zapp!, and in the fourth and final Quatermass serial in 1979. Many cultural icons of the youth movement, including members of the Beatles, Pink Floyd and Monty Python, were fans of Kneale's work. For The Year of the Sex Olympics Kneale extrapolated the possible consequences of the youth movement's desire for freedom from "traditional" cultural inhibitions, asking, as the academic John R. Cook puts it, "In a world of no limits, will the result quickly be apathy if there is nothing any more to get excited about, nothing precious or illicit to fight for in the teeth of the censor?".

Paragraph 20: It is important to realize that the mechanics of the refugee rescue plan in Manila involved many different people and agencies in the Philippines, in the United States, and in Germany. The refugee rescue plan also had some opponents. In 1938, Emilio Aguinaldo was quoted to hold antisemitic beliefs in his opposition to Quezon's plan to shelter Jews in the Philippines. While it was important to have the cooperation and consent of President Quezon in this refugee rescue plan, all issues of Philippine foreign affairs was still totally in the hands of the U.S. State Department and would be until the Philippines was granted independence in 1946. What is unique to the rescue of refugee Jews in the Philippines is that the Jewish Community in Manila was granted authority by High Commissioner Paul McNutt and Philippine President Quezon to operate a selection committee to choose those who would be granted visas by the U.S. State Department. By an application and review process, Jewish refugees in Germany and Austria obtained visas for immigration from U.S. consular officers who had been instructed by the U.S. State Department to issue visas based on recommendations from the JRC in Manila. This successful Frieder-McNutt selection rescue plan led to the larger resettlement rescue plan that focused on the island of Mindanao as a destination for the mass resettlement of 10,000 refugee Jews. For the refugees who did manage to settle in the Philippines, the JRC organised committees to aid in finding employment and new homes for them in Manila. Though relatively modest in numbers when compared to the number of refugees worldwide, the newly arrived refugees nearly overwhelmed the small Jewish community of Manila, multiplying its numbers relatively overnight. An ironic turn of events occurred when all rescue plans halted with the invasion and occupation of the Philippines during WWII.

Paragraph 21: Moon founded The Washington Times in Washington D.C. as a part of his international media conglomerate News World Communications in the same year Inchon was released. According to The Times''' rival The Washington Post, a full-length two and a half page version of a film review of Inchon written by critic Scott Sublett that was originally planned for the September 16, 1982 issue of The Times was killed by the newspaper's publisher and editor James R. Whelan. Whelan told Sublett that The Times had a conflict of interest with regard to reviewing Inchon, and would not print his review. Instead, The Times printed a one-paragraph critical synopsis of the film, also written by Sublett, which said in full: "Puerile dialogue, perfunctory acting and haphazard construction doom from the start this visually impressive would-be epic about love and dead Reds in wartime Korea. Olivier (in a performance that is the nadir of his career) joshes, minces and rolls his eyes absurdly as Doug MacArthur. The script, by Robin Moore, is pure twaddle – a cross between South Pacific and The Green Berets." Moore is the author of the novel The Green Berets, upon which the 1968 movie was based. On September 21, The Washington Times printed The New York Times′ review of the film. Reviewers Gene Siskel and Roger Ebert selected the film as one of the worst of the year in a 1982 episode of their program Sneak Previews.

Paragraph 22: Jake Swirbul and Leroy Grumman met in 1924 at Loening Aeronautical Engineering Co. in New York City, one of the many small aircraft firms that sprang up after World War I. When the firm's Manhattan factory was closed after its sale to Keystone Aircraft in 1929, Swirbul and Grumman decided to form their own company. Grumman mortgaged his house to contribute $16,875, and Swirbul contributed $8,125. Two other Loening employees, William Schwendler and Edmund Ward Poor, contributed a little and former Wall Street banker E. Clinton Towl made up the fifth employee of Grumman Aircraft Engineering Corporation, formed January 2, 1930. Swirbul was the production manager, who understood the dynamics of mass production. He was responsible for the huge output of World War II and was equally adept in ramping down production at the end of the war to ensure the company's survival. Jake found his solutions on a personal, rather than an abstract level. He was always known as a hands on  manager who could get the most out of his workers while treating them with friendship and respect. While Roy Grumman was always referred to as "Mr. Grumman", Jake was always Jake and could be seen out on the shop floor conversing with his men, while checking progress. Grumman was the only manufacturer to start the 1950s in the black. Jake Swirbul died of pneumonia while ill with colon cancer on June 28, 1960, shortly after Grumman began work on the Gemini program and one month after the roll-out ceremony for the A-6 Intruder.

Paragraph 23: Moon founded The Washington Times in Washington D.C. as a part of his international media conglomerate News World Communications in the same year Inchon was released. According to The Times''' rival The Washington Post, a full-length two and a half page version of a film review of Inchon written by critic Scott Sublett that was originally planned for the September 16, 1982 issue of The Times was killed by the newspaper's publisher and editor James R. Whelan. Whelan told Sublett that The Times had a conflict of interest with regard to reviewing Inchon, and would not print his review. Instead, The Times printed a one-paragraph critical synopsis of the film, also written by Sublett, which said in full: "Puerile dialogue, perfunctory acting and haphazard construction doom from the start this visually impressive would-be epic about love and dead Reds in wartime Korea. Olivier (in a performance that is the nadir of his career) joshes, minces and rolls his eyes absurdly as Doug MacArthur. The script, by Robin Moore, is pure twaddle – a cross between South Pacific and The Green Berets." Moore is the author of the novel The Green Berets, upon which the 1968 movie was based. On September 21, The Washington Times printed The New York Times′ review of the film. Reviewers Gene Siskel and Roger Ebert selected the film as one of the worst of the year in a 1982 episode of their program Sneak Previews.

Paragraph 24: On May 19, Narumiya scored an upset pinfall win over her former partner, the reigning ICE×60 Champion Hikaru Shida, in a tag team match, where she teamed with Aki Shizuku and Shida with Tsukasa Fujimoto. After a non-title match between the two on May 26 ended in a ten-minute time limit draw, Narumiya was named the number one contender to the ICE×60 Championship, provided she could make the  weight limit. Narumiya received her first shot at Ice Ribbon's top title on June 17 at the promotion's sixth anniversary event, but was unable dethrone Shida. On July 7, the N3 stable produced their first own Ice Ribbon event, which saw Narumiya defeat Meari Naito in the main event. As part of a working relationship between Ice Ribbon and JWP, Narumiya made her debut for JWP on July 8, losing to Hanako Nakamori. Afterwards, the two agreed to team up in the upcoming JRibbon Natsu Onna Kettei Tournament. This time the tournament, a JWP staple, was co-produced by JWP and Ice Ribbon, being split up into two "JRibbon" events on July 28; an Ice Ribbon event in the afternoon and a JWP event in the evening. During the Ice Ribbon event, Narumiya and Nakamori defeated Leon and Neko Nitta to advance to the JWP event, where they defeated Tsukasa Fujimoto and Rabbit Miu in their semifinal match. Later that same event, Narumiya and Nakamori defeated Arisa Nakajima and Hikaru Shida in the finals to win the 2012 Natsu Onna Kettei Tournament. After the match, Rabbit Miu, upset about being pinned by Narumiya in the semifinal match, entered the ring and offered her a shot at the JWP Junior and Princess of Pro-Wrestling Championships. Narumiya accepted the offer and the title match between the two was made official for August 19. On July 31, Narumiya made her debut for DDT Pro-Wrestling, taking part in an "Ice Ribbon offer match", where she and Tsukushi were defeated by Hikaru Shida and Neko Nitta. On August 7, Narumiya made her debut for Pro Wrestling Wave, once again pinning Rabbit Miu in a tag team match, where she teamed with Yuu Yamagata and Miu with Tsukasa Fujimoto. A week before their title match, Narumiya earned another pinfall victory over Miu in the main event of a JWP event, where she teamed with Kagetsu and Miu with JWP Openweight Champion Kayoko Haruyama. Later that same day, Narumiya joined Leon's Shishi no Ana stable, becoming a regular member of JWP's roster. On August 19, Narumiya was defeated by Miu in the match for the JWP Junior and Princess of Pro-Wrestling Championships. Back in Ice Ribbon later that same day, Narumiya teamed with Meari Naito to unsuccessfully challenge Hikaru Shida and Tsukasa Fujimoto for the Reina World Tag Team Championship.

Paragraph 25: In the early 1950s, the New York City hairdresser M. Lewis popularized this style. Singer Toni Tennille of the 1970s pop duet Captain & Tennille wore one as her signature look along with 1976 Olympic champion and 1976 World champion figure skater Dorothy Hamill. In the Oscar-winning film One Flew Over the Cuckoo's Nest, the villainous Nurse Ratched is known for her pageboy. In the Buffy the Vampire Slayer episode "Gone", Buffy has her hair cut into a pageboy. In the 1960s TV cartoon Underdog, the show's damsel in distress Sweet Polly Purebred (voiced by Norma MacMillan) has this hairstyle as her trademark look. AnnaSophia Robb as Violet Beauregarde and Missi Pyle as Violet's mother Scarlett Beauregarde in Tim Burton's film version of Charlie and the Chocolate Factory both sport pageboys. In the 2003 TV series All Grown Up! (a spin-off of Rugrats), Angelica Pickles (voiced by Cheryl Chase) sports a pageboy. Velma Dinkley, of the various Scooby-Doo animated series, has worn a short pageboy from her first appearance. Rei Ayanami from Neon Genesis Evangelion wears a shaggy pageboy. At the end of the Japanese anime series Kill la Kill, Satsuki Kiryuin cuts her hair into a page style. In John Green's novel The Fault in Our Stars, narrator and main character Hazel Grace Lancaster sports a pageboy haircut. The most prominent women to wear pageboys in the 1970s and 1980s were actress Joanna Lumley as the character Purdey in television's The New Avengers, and Diana, Princess of Wales. In fact it was also known as the "Purdey Cut" and the "Lady Di" in the UK at the time.

Paragraph 26: The song has been recorded in a number of versions. The Italian version performed by Fran Jeffries appears in the film, but not on the soundtrack album. An instrumental that resembles the underscore of Jeffries' version is included on the soundtrack album, as is a group vocal with only vaguely related English lyrics (which can be heard in the film during the fancy-dress ball and costume party whilst the attempted robbery is taking place). Another Italian version, arranged by Ennio Morricone and performed by Miranda Martino, in 1963, appears on the compilation album Da Hollywood a Cinecittà. Morricone later also did an instrumental version on compilation albums. Another version appears in another Sellers, Blake Edwards & Mancini collaboration, the 1968 film The Party. Other singers to subsequently record the song include Sarah Vaughan, on her 1965 album Sarah Vaughan Sings the Mancini Songbook, and Lena Horne. An instrumental lounge-style version was recorded by The Hub Kings on their album This Way. John Barrowman performed the song during his 2008 tour. Accordionist Frank Marocco recorded the song together with "Quando, quando, quando", as part of a two-song medley on his compilation album Beyond the Sea. His arrangement appears in one of his sheet-music book combinations, titled Latin Rhythms. A Chill-style remake of this song was done by Italian group Mondo Candido. It appears on the mix album Buddha Bar V. A mambo-style version of the song was recorded by the swing revival group Lee Press-on and the Nails for the album El Bando en Fuego. A version of the song was recorded by Mic Gillette on his album Ear Candy. A Spanish version was also recorded in Santiago, Chile,  by Bambi, a popular singer in the mid-1960s. The title was "Mejor Ahora". The Greek singer Elli Paspala performed the Italian version on her 1993 live album Η Ελλη Πασπαλά στο Μέγαρο Μουσικής (Elli Paspala at the Concert Hall).

Paragraph 27: St Philip's Anglican Church in Thompson Estate (as the area was then known) was dedicated on 18 October 1886 by Archbishop of Brisbane William Webber. It was designed by architect John Henry Burley and was built by J.W. Stranson. The church bell was a gift of Abraham Fleetwood Luya and the baptismal font was the gift of stonemason Andrew Lang Petrie. On 7 December 1905, the church was "reduced to ruin" by a severe storm which caused extensive flooding and the death of two children. It was extended and re-dedicated on 1 April 1906 by St. Clair Donaldson, Archbishop of Brisbane, with Henry Wallace Atkinson as architect. The old church was destroyed by fire 28 November 1954 after work on the new church had begun. The current church was consecrated by the Archbishop Reginald Halse on 1 December 1955. It is listed on the Brisbane Heritage Register. There were at least two parishioners that lost their lives at Gallipoli. "At St Philips we know of only two of our parishioners who were part of this landing at Gallipoli who later died on 5 April 1918 in France. The two were good mates and brother and brother in law. They died on the same day in the same battle recorded by the historian Charles Bean. ....Reginald Verry and his brother in law James Victor Atkinson." A state funeral was held at the church for Gordon Brown who was a Senator for Queensland from 1932 to 1965 (as a member of the Australia Labor Party); his ashes are kept in the church's columbarium.

Paragraph 28:  2–3 September 2021:    (Rome, Vatican), PM Šimonytė met with prime minister of Italy Mario Draghi in Rome and discussed the strengthening of bilateral relations and economic cooperation, security, the situation in Afghanistan, Belarus and Russia, also the European Union's relations with China. The prime ministers focused on the irregular migration and the situation on the Lithuania-Belarus border. Together they also stressed the need to strengthen the transatlantic relations, discussed the possibilities of strengthening the bilateral relations, while particularly focusing on economic cooperation. EU challenges of illegal migration were also on the meeting agenda. The counterparts agreed that both Lithuania and Italy are strong supporters of European integration and that they care about the future of the EU, which should build on the principles of solidarity and strong European values. The situation in Afghanistan was also discussed at large, including the evacuation of Afghans who had helped Lithuania and Italy, the security situation in the country, the importance of the efforts of the international community in preventing a possible humanitarian crisis in Afghanistan. The prime ministers of Lithuania and Italy also discussed the prospects for EU-China relations. PM Šimonytė noted that talks with China should take place in non-divisive for Europe formats. As part of her visit to Italy, the prime minister of Lithuania met also with the senior management of Italian life sciences companies and Lithuanian community in Italy. At the Galleria Nazionale d'Arte Moderna, the PM of Lithuania visited an exhibition of works by Antonietta Raphaël Mafai, a well-known Litvak artist.As part of the visit to Italy, prime minister Ingrida Šimonytė met with Pope Francis in Vatican. This was the first meeting between the prime minister and the Pope. The prime minister thanked the Pope for his consistent attention to Lithuania and its people. PM Šimonytė also expressed support for the activities of the Holy See and of the Pope aimed at promoting peace in the world, advocating for greater respect for women, protection of the environment, and the principles of human dignity. Lithuania supports the actions of the Holy See in Ukraine, therefore, on behalf of Lithuania, the prime minister handed over 10 000 euros to the Pope for Ukraine Foundation. After the meeting with Pope Francis, she met with the Secretary of State of Holy See Cardinal Pietro Parolin and with Secretary for Relations with States of Holy See the Archbishop Paul Richard Gallagher to discuss the bilateral relations and international policy.PM Šimonytė also met with Grand Chancellor of the Order of Malta Albrecht Freiherri von Boeselager in Rome to discuss the bilateral relations and the activities of the Order in Lithuania. The meeting also covered irregular migration across the Lithuania-Belarus border and the activities of the Order of Malta in this regard.

Paragraph 29: At first, the ECJ pointed out that Reed was using a sign in the course of trade which was identical with the trade mark registered by Arsenal FC. In this particular case, there is a trademark infringement. Beyond that the question had to be answered whether any use of the sign of a third party would entitle Arsenal FC to forbid this use. Or if there must be a specific interest by the owner of the registered trade mark. In this point, the ECJ made clear that Article 5 (1) (a) of the trade mark directive requires for its applicability a specific interest. Ensuing, the ECJ pointed out, that a specific interest is constituted by violation of an essential function. The owner of a registered trade mark could only prohibit the use of an identical sign if his interests regarding the essential function of the trade mark violated. The essential function of a registered trade mark is to identify the origin of the goods. So there is no danger of confusion by the customers. A use of an identical sign in a merely describing way would not violate the interest of the owner of the trade mark. The ECJ is convinced that the style of the products sold by Reed could lead to the impression in the course of trade, that there is a relationship between these products and Arsenal FC. Even the disclaimers at the stalls that the products sold by Reed are not official products of Arsenal FC, do not lead to another estimate. Following the opinion of the ECJ, most of all by the time the products left the stalls they can be regarded as official Products of the Arsenal FC by other customers. The interesting point here is that the arguments are identical with those, which lead to the rejection in the claim of passing off. Under this the decision about the claim of passing off maybe has to be reconsidered. But the ECJ did not say anything about this former ruling of the High Court and its arguments. Going back to the case, the ECJ assume to be convinced that the use of a sign which is identical with a registered trade mark is suitable to harm the guarantee of origin and therefore consequently the essential function of a registered trade mark. Consequently, in this particular case, there is a violation of the specific interests of the Arsenal FC by Reed. He used the sign in the meaning of Article 5 (1) of the trade mark directive. Therefore, there is a trade mark infringement by Reed selling products, not official wear by Arsenal FC, but carrying the sign of the Arsenal FC.

Paragraph 30: In addition to the report that compared the effect of ALK-inhibitors to other therapy regimens detailed in the previous paragraph, several reports have focused primarily on small numbers of IMT patients treated with an ALK inhibitor. The European Organisation for Research and Treatment of Cancer evaluated the effect of the ALK-inhibitor, crizotinib, on 12 ALK-positive IMT adults who had persistent and/or metastatic disease following surgical and/or drug treatment: 2 patients had complete responses, 4 had partial responses, 5 had steady disease, and none had progressive disease; 9 of these patients had at least 1 year of progression-free survival but one patient died of the disease. A review of previously published IMT patients of all ages found that: 1) 4 patients (3 with unifocal, 1 with multifocal disease) without prior treatment had complete responses to crizotinin; 2) 2 patients (1 with unifocal, 1 with multifocal disease) that had persistent disease after surgery and previously treated with chemotherapy had partial responses to crizotinib while 1 patient previously treated with a corticosteroid, prednisone, continued to have progressive disease on crizotinib; and 3) 6 patients with progressive disease after surgery (due to multifocal or unifocal disease in inaccessible sites) had complete responses (2 cases), partial responses (2 cases), stable disease (1 case), or progressive disease (1 case) in response to crizotinib. Two of these crizotinib-treated patients with progressive disease had near complete responses to second generation ALK inhibitors Another study reviewed 29 pediatric patients (age 15 months to 17 years) who were treated with an ALK inhibitor followed by surgical removal of the tumor (5 cases), surgical tumor removal followed by an ALK inhibitor (12 cases), or an ALK inhibitor without surgery. Twelve patients had complete responses, 14 partial responses, 2 stable disease, and 2 recurrences after finishing ALK inhibitor treatment. The latter two patients obtained complete responses to retreatment with crizotinib (1 case) or a second generation ALK inhibitor, ceritinib (1 case). A study of 14 pediatric patients with metastatic or inoperable ALK-positive IMT were treated with crizotinib: 5 patients obtained complete responses, 7 partial responses, and 2 stable disease. Over the study period (2–63 months), no patient developed progressive disease.  Numerous Medical history studies have had similar results in treated IMT with ALK inhibitors. However, ALK inhibitors have serious side effects; in on study, crizotinib treatment was associated with  pneumonia, fever of unknown cause, heart attack, sepsis, abdominal abscess, acute renal insufficiency, and the development of an abnormal EKG (i.e. QT prolongation). Entrectinib, a tyrosine kinase inhibitor that is active on ROS1 and NRTK as well as AKT, has shown clinically significant activity in individual cases of patients with IMT expressing ROS1, NRTK, and/or an ALK fusion proteins.

Paragraph 31: It is important to realize that the mechanics of the refugee rescue plan in Manila involved many different people and agencies in the Philippines, in the United States, and in Germany. The refugee rescue plan also had some opponents. In 1938, Emilio Aguinaldo was quoted to hold antisemitic beliefs in his opposition to Quezon's plan to shelter Jews in the Philippines. While it was important to have the cooperation and consent of President Quezon in this refugee rescue plan, all issues of Philippine foreign affairs was still totally in the hands of the U.S. State Department and would be until the Philippines was granted independence in 1946. What is unique to the rescue of refugee Jews in the Philippines is that the Jewish Community in Manila was granted authority by High Commissioner Paul McNutt and Philippine President Quezon to operate a selection committee to choose those who would be granted visas by the U.S. State Department. By an application and review process, Jewish refugees in Germany and Austria obtained visas for immigration from U.S. consular officers who had been instructed by the U.S. State Department to issue visas based on recommendations from the JRC in Manila. This successful Frieder-McNutt selection rescue plan led to the larger resettlement rescue plan that focused on the island of Mindanao as a destination for the mass resettlement of 10,000 refugee Jews. For the refugees who did manage to settle in the Philippines, the JRC organised committees to aid in finding employment and new homes for them in Manila. Though relatively modest in numbers when compared to the number of refugees worldwide, the newly arrived refugees nearly overwhelmed the small Jewish community of Manila, multiplying its numbers relatively overnight. An ironic turn of events occurred when all rescue plans halted with the invasion and occupation of the Philippines during WWII.

Paragraph 32: In the early 1950s, the New York City hairdresser M. Lewis popularized this style. Singer Toni Tennille of the 1970s pop duet Captain & Tennille wore one as her signature look along with 1976 Olympic champion and 1976 World champion figure skater Dorothy Hamill. In the Oscar-winning film One Flew Over the Cuckoo's Nest, the villainous Nurse Ratched is known for her pageboy. In the Buffy the Vampire Slayer episode "Gone", Buffy has her hair cut into a pageboy. In the 1960s TV cartoon Underdog, the show's damsel in distress Sweet Polly Purebred (voiced by Norma MacMillan) has this hairstyle as her trademark look. AnnaSophia Robb as Violet Beauregarde and Missi Pyle as Violet's mother Scarlett Beauregarde in Tim Burton's film version of Charlie and the Chocolate Factory both sport pageboys. In the 2003 TV series All Grown Up! (a spin-off of Rugrats), Angelica Pickles (voiced by Cheryl Chase) sports a pageboy. Velma Dinkley, of the various Scooby-Doo animated series, has worn a short pageboy from her first appearance. Rei Ayanami from Neon Genesis Evangelion wears a shaggy pageboy. At the end of the Japanese anime series Kill la Kill, Satsuki Kiryuin cuts her hair into a page style. In John Green's novel The Fault in Our Stars, narrator and main character Hazel Grace Lancaster sports a pageboy haircut. The most prominent women to wear pageboys in the 1970s and 1980s were actress Joanna Lumley as the character Purdey in television's The New Avengers, and Diana, Princess of Wales. In fact it was also known as the "Purdey Cut" and the "Lady Di" in the UK at the time.

Paragraph 33: "Woodentop" has an unusual place in the history of The Bill due to the original premise of this being a one-off play. After broadcast, Thames commissioned a full series to be shown the following year, under the name The Bill as the show had the potential to appeal to a mass audience. Although The Bill is clearly a continuation from this episode, the main series contradicts it in a number of ways. For instance, in Woodentop Litten has completed his secondment to CID and is close to securing his place in the detective branch, whereas in The Bill he does not gain his CID secondment until halfway through Series One. In addition many central characters in "Woodentop" - such as Sergeant Wilding and Inspector Deeping - vanish between the pilot and the series. Deeping does gain one mention in Series One, in the episode "It's Not Such a Bad Job After All", where Ackland is informed that he is coming to meet her on the scene of a suicide - a later radio transmission, however, reports that Sgt. Bob Cryer is to meet her instead. Although Wilding is not mentioned following Woodentop, he shares several characteristics with Sgt. Cryer - including a position as the "father figure" of the Sun Hill relief, and an apparently tumultuous relationship with Roy Galloway, whom both Cryer and Wilding refer to as a "bloody superstar". In the first episode of Series One, "Funny Ol' Business - Cops and Robbers", Galloway and Cryer make apparent reference to the events of Woodentop in regards to Jim Carver. Galloway suggests that it is Cryer who requested the favour, further suggesting that Cryer and Wilding are in fact the one character, and that, like PC Taffy Morgan (later Taffy Edwards), Jack Wilding's name has merely been changed to Bob Cryer. There are also discrepancies with the naming of some of the characters. In the 2003 live episode of The Bill, made to celebrate the twentieth anniversary of broadcast, Carver and Ackland discuss events from the pilot, whereupon Carver incorrectly refers to the character of Taffy by the surname Morgan, a name that was dropped for the series proper in favour of "Edwards". There are also mistakes made in some of the uniforms the cast wore during the episode, for example, in one scene, PC Dave Litten is on foot patrol with PC Jim Carver, and PC Litten's helmet has GR on the helmet badge where it should have had ER, the same that was on PC Carver's helmet. Also the tunics the male officers wore had a notched lapels with

Paragraph 34: It is important to realize that the mechanics of the refugee rescue plan in Manila involved many different people and agencies in the Philippines, in the United States, and in Germany. The refugee rescue plan also had some opponents. In 1938, Emilio Aguinaldo was quoted to hold antisemitic beliefs in his opposition to Quezon's plan to shelter Jews in the Philippines. While it was important to have the cooperation and consent of President Quezon in this refugee rescue plan, all issues of Philippine foreign affairs was still totally in the hands of the U.S. State Department and would be until the Philippines was granted independence in 1946. What is unique to the rescue of refugee Jews in the Philippines is that the Jewish Community in Manila was granted authority by High Commissioner Paul McNutt and Philippine President Quezon to operate a selection committee to choose those who would be granted visas by the U.S. State Department. By an application and review process, Jewish refugees in Germany and Austria obtained visas for immigration from U.S. consular officers who had been instructed by the U.S. State Department to issue visas based on recommendations from the JRC in Manila. This successful Frieder-McNutt selection rescue plan led to the larger resettlement rescue plan that focused on the island of Mindanao as a destination for the mass resettlement of 10,000 refugee Jews. For the refugees who did manage to settle in the Philippines, the JRC organised committees to aid in finding employment and new homes for them in Manila. Though relatively modest in numbers when compared to the number of refugees worldwide, the newly arrived refugees nearly overwhelmed the small Jewish community of Manila, multiplying its numbers relatively overnight. An ironic turn of events occurred when all rescue plans halted with the invasion and occupation of the Philippines during WWII.

Paragraph 35: The fugue in E major BWV 552/2 that ends Clavier-Übung III has become known in English-speaking countries as the "St. Anne" because of the first subject's resemblance to a hymn tune of the same name by William Croft, a tune that was not likely known to Bach. A fugue in three sections of 36 bars, 45 bars and 36 bars, with each section a separate fugue on a different subject, it has been called a triple fugue. However, the second subject is not stated precisely within the third section, but only strongly suggested in bars 93, 99, 102-04, and 113-14.The number threeThe number three is pervasive in both the Prelude and the Fugue, and has been understood by many to represent the Trinity. The description of Albert Schweitzer follows the 19th-century tradition of associating the three sections with the three different parts of the Trinity. The number three, however, occurs many other times: in the number of flats of the key signature; in the number of fugal sections; and in the number of bars in each section, each a multiple of three (3 × 12, 3 x 15), as well as in the month (September = 09 or 3 x 3) and year (39 or 3 x 13) of publication. Each of the three subjects seems to grow from the previous ones. Indeed, musicologist Hermann Keller has suggested that the second subject is "contained" in the first. Although perhaps hidden in the score, this is more apparent to the listener, both in their shape and in the resemblance of the quaver second subject to crotchet figures in the countersubject to the first subject. Similarly, the semiquaver figures in the third subject can be traced back to the second subject and the countersubject of the first section.Form of the fugueThe form of the fugue conforms to that of a 17th-century tripartite ricercar or canzona, such as those of Froberger and Frescobaldi: firstly in the way that themes become progressively faster in successive sections; and secondly in the way one theme transforms into the next. Bach can also be seen as continuing a Leipzig tradition for contrapuntal compositions in sections going back to the keyboard ricercars and fantasias of Nicolaus Adam Strungk and Friedrich Wilhelm Zachow. The tempo transitions between different sections are natural: the minims of the first and second sections correspond to the dotted crotchets of the third.Source of the subjectsMany commentators have remarked on similarities between the first subject and fugal themes by other composers. As an example of stile antico, it is more probably a generic theme, typical of the fuga grave subjects of the time: a "quiet " time signature, rising fourths and a narrow melodic range. As  points out, the similarity to the subject of a fugue by Conrad Friedrich Hurlebusch, which Bach himself published in 1734, might have been a deliberate attempt by Bach to blind his public with science. Roger Wibberly has shown that the foundation of all three fugue subjects, as well as of certain passages in the Prelude, may be found in the first four phrases of the chorale "O Herzensangst, O Bangigkeit". The first two sections of BWV 552/2 share many affinities with the fugue in E major BWV 876/2 in The Well-Tempered Clavier, Book 2, written during the same period. Unlike true triple fugues, like the F minor BWV 883 from the same book or some of the contrapuncti in The Art of the Fugue, Bach's intent with BWV 552/2 may not have been to combine all three subjects, although this would theoretically have been possible. Rather, as the work progresses, the first subject is heard singing out through the others: sometimes hidden; sometimes, as in the second section, quietly in the alto and tenor voices; and finally, in the last section, high in the treble and, as the climactic close approaches, quasi-ostinato in the pedal, thundering out beneath the two sets of upper voices. In the second section it is played against quavers; and in parts of the last, against running semiquaver passagework. As the fugue progresses, this creates what Williams has called the cumulative effect of a "mass choir". In later sections, to adapt to triple time, the first subject becomes rhythmically syncopated, resulting in what the music scholar Roger Bullivant has called "a degree of rhythmic complexity probably unparalleled in fugue of any period."First sectionThe first section is a quiet  five-part fugue in the stile antico. The countersubject is in crotchets.

Paragraph 36:  2–3 September 2021:    (Rome, Vatican), PM Šimonytė met with prime minister of Italy Mario Draghi in Rome and discussed the strengthening of bilateral relations and economic cooperation, security, the situation in Afghanistan, Belarus and Russia, also the European Union's relations with China. The prime ministers focused on the irregular migration and the situation on the Lithuania-Belarus border. Together they also stressed the need to strengthen the transatlantic relations, discussed the possibilities of strengthening the bilateral relations, while particularly focusing on economic cooperation. EU challenges of illegal migration were also on the meeting agenda. The counterparts agreed that both Lithuania and Italy are strong supporters of European integration and that they care about the future of the EU, which should build on the principles of solidarity and strong European values. The situation in Afghanistan was also discussed at large, including the evacuation of Afghans who had helped Lithuania and Italy, the security situation in the country, the importance of the efforts of the international community in preventing a possible humanitarian crisis in Afghanistan. The prime ministers of Lithuania and Italy also discussed the prospects for EU-China relations. PM Šimonytė noted that talks with China should take place in non-divisive for Europe formats. As part of her visit to Italy, the prime minister of Lithuania met also with the senior management of Italian life sciences companies and Lithuanian community in Italy. At the Galleria Nazionale d'Arte Moderna, the PM of Lithuania visited an exhibition of works by Antonietta Raphaël Mafai, a well-known Litvak artist.As part of the visit to Italy, prime minister Ingrida Šimonytė met with Pope Francis in Vatican. This was the first meeting between the prime minister and the Pope. The prime minister thanked the Pope for his consistent attention to Lithuania and its people. PM Šimonytė also expressed support for the activities of the Holy See and of the Pope aimed at promoting peace in the world, advocating for greater respect for women, protection of the environment, and the principles of human dignity. Lithuania supports the actions of the Holy See in Ukraine, therefore, on behalf of Lithuania, the prime minister handed over 10 000 euros to the Pope for Ukraine Foundation. After the meeting with Pope Francis, she met with the Secretary of State of Holy See Cardinal Pietro Parolin and with Secretary for Relations with States of Holy See the Archbishop Paul Richard Gallagher to discuss the bilateral relations and international policy.PM Šimonytė also met with Grand Chancellor of the Order of Malta Albrecht Freiherri von Boeselager in Rome to discuss the bilateral relations and the activities of the Order in Lithuania. The meeting also covered irregular migration across the Lithuania-Belarus border and the activities of the Order of Malta in this regard.

Paragraph 37: On May 19, Narumiya scored an upset pinfall win over her former partner, the reigning ICE×60 Champion Hikaru Shida, in a tag team match, where she teamed with Aki Shizuku and Shida with Tsukasa Fujimoto. After a non-title match between the two on May 26 ended in a ten-minute time limit draw, Narumiya was named the number one contender to the ICE×60 Championship, provided she could make the  weight limit. Narumiya received her first shot at Ice Ribbon's top title on June 17 at the promotion's sixth anniversary event, but was unable dethrone Shida. On July 7, the N3 stable produced their first own Ice Ribbon event, which saw Narumiya defeat Meari Naito in the main event. As part of a working relationship between Ice Ribbon and JWP, Narumiya made her debut for JWP on July 8, losing to Hanako Nakamori. Afterwards, the two agreed to team up in the upcoming JRibbon Natsu Onna Kettei Tournament. This time the tournament, a JWP staple, was co-produced by JWP and Ice Ribbon, being split up into two "JRibbon" events on July 28; an Ice Ribbon event in the afternoon and a JWP event in the evening. During the Ice Ribbon event, Narumiya and Nakamori defeated Leon and Neko Nitta to advance to the JWP event, where they defeated Tsukasa Fujimoto and Rabbit Miu in their semifinal match. Later that same event, Narumiya and Nakamori defeated Arisa Nakajima and Hikaru Shida in the finals to win the 2012 Natsu Onna Kettei Tournament. After the match, Rabbit Miu, upset about being pinned by Narumiya in the semifinal match, entered the ring and offered her a shot at the JWP Junior and Princess of Pro-Wrestling Championships. Narumiya accepted the offer and the title match between the two was made official for August 19. On July 31, Narumiya made her debut for DDT Pro-Wrestling, taking part in an "Ice Ribbon offer match", where she and Tsukushi were defeated by Hikaru Shida and Neko Nitta. On August 7, Narumiya made her debut for Pro Wrestling Wave, once again pinning Rabbit Miu in a tag team match, where she teamed with Yuu Yamagata and Miu with Tsukasa Fujimoto. A week before their title match, Narumiya earned another pinfall victory over Miu in the main event of a JWP event, where she teamed with Kagetsu and Miu with JWP Openweight Champion Kayoko Haruyama. Later that same day, Narumiya joined Leon's Shishi no Ana stable, becoming a regular member of JWP's roster. On August 19, Narumiya was defeated by Miu in the match for the JWP Junior and Princess of Pro-Wrestling Championships. Back in Ice Ribbon later that same day, Narumiya teamed with Meari Naito to unsuccessfully challenge Hikaru Shida and Tsukasa Fujimoto for the Reina World Tag Team Championship.

Paragraph 38: On May 19, Narumiya scored an upset pinfall win over her former partner, the reigning ICE×60 Champion Hikaru Shida, in a tag team match, where she teamed with Aki Shizuku and Shida with Tsukasa Fujimoto. After a non-title match between the two on May 26 ended in a ten-minute time limit draw, Narumiya was named the number one contender to the ICE×60 Championship, provided she could make the  weight limit. Narumiya received her first shot at Ice Ribbon's top title on June 17 at the promotion's sixth anniversary event, but was unable dethrone Shida. On July 7, the N3 stable produced their first own Ice Ribbon event, which saw Narumiya defeat Meari Naito in the main event. As part of a working relationship between Ice Ribbon and JWP, Narumiya made her debut for JWP on July 8, losing to Hanako Nakamori. Afterwards, the two agreed to team up in the upcoming JRibbon Natsu Onna Kettei Tournament. This time the tournament, a JWP staple, was co-produced by JWP and Ice Ribbon, being split up into two "JRibbon" events on July 28; an Ice Ribbon event in the afternoon and a JWP event in the evening. During the Ice Ribbon event, Narumiya and Nakamori defeated Leon and Neko Nitta to advance to the JWP event, where they defeated Tsukasa Fujimoto and Rabbit Miu in their semifinal match. Later that same event, Narumiya and Nakamori defeated Arisa Nakajima and Hikaru Shida in the finals to win the 2012 Natsu Onna Kettei Tournament. After the match, Rabbit Miu, upset about being pinned by Narumiya in the semifinal match, entered the ring and offered her a shot at the JWP Junior and Princess of Pro-Wrestling Championships. Narumiya accepted the offer and the title match between the two was made official for August 19. On July 31, Narumiya made her debut for DDT Pro-Wrestling, taking part in an "Ice Ribbon offer match", where she and Tsukushi were defeated by Hikaru Shida and Neko Nitta. On August 7, Narumiya made her debut for Pro Wrestling Wave, once again pinning Rabbit Miu in a tag team match, where she teamed with Yuu Yamagata and Miu with Tsukasa Fujimoto. A week before their title match, Narumiya earned another pinfall victory over Miu in the main event of a JWP event, where she teamed with Kagetsu and Miu with JWP Openweight Champion Kayoko Haruyama. Later that same day, Narumiya joined Leon's Shishi no Ana stable, becoming a regular member of JWP's roster. On August 19, Narumiya was defeated by Miu in the match for the JWP Junior and Princess of Pro-Wrestling Championships. Back in Ice Ribbon later that same day, Narumiya teamed with Meari Naito to unsuccessfully challenge Hikaru Shida and Tsukasa Fujimoto for the Reina World Tag Team Championship.

Paragraph 39: At 16:35 the subsidiary convoy met up with the main convoy. At 17:03 Erie was struck by one of three torpedoes fired by . The captain had taken the conn at  and ordered "right standard rudder" to investigate spray on the starboard beam. It was then that a torpedo was sighted  out. "Left full rudder" was ordered but two more torpedoes were sighted abaft the starboard beam, the siren was sounded and as Erie swung left, the ship was struck in the starboard quarter. Erie had been struck in one of its oil bunkers, and immediately started burning with all engines stopping and loss of electrical power. By 17:40 Erie was listing to starboard and down by the stern with partial power restored and the starboard engine in use. At 17:44 the starboard engine was stopped and the #2 boiler cut in. At 17:45 two severe explosions in the #4 gun shelter rocked Erie, followed within five minutes by two more explosions in the #4 gun shelter. At 17:55, "all stop" was ordered and three motor whaleboats were lowered to search for casualties with an additional boat lowered at 18:00 with injured personnel. The ship began moving forward again on the port engine heading for the beach. The crew began heaving the powder from the #3 ready room overboard at 18:12 to prevent it from exploding too. "All engines stop" was called six minutes later, with the main deck under water by 18:20. At 18:23 Erie hit bottom, and "back full" was called as Erie beached itself  off shore. With oil on the water around the ship on fire, the captain called for "all hands abandon ship" at 18:26. The explosion and fire had killed seven of the crew, including officers Lt. Ned James Wentz, Lt. George Kunkle and wounded 11 more. Erie was beached to prevent sinking, and burned for days.

Paragraph 40: At 16:35 the subsidiary convoy met up with the main convoy. At 17:03 Erie was struck by one of three torpedoes fired by . The captain had taken the conn at  and ordered "right standard rudder" to investigate spray on the starboard beam. It was then that a torpedo was sighted  out. "Left full rudder" was ordered but two more torpedoes were sighted abaft the starboard beam, the siren was sounded and as Erie swung left, the ship was struck in the starboard quarter. Erie had been struck in one of its oil bunkers, and immediately started burning with all engines stopping and loss of electrical power. By 17:40 Erie was listing to starboard and down by the stern with partial power restored and the starboard engine in use. At 17:44 the starboard engine was stopped and the #2 boiler cut in. At 17:45 two severe explosions in the #4 gun shelter rocked Erie, followed within five minutes by two more explosions in the #4 gun shelter. At 17:55, "all stop" was ordered and three motor whaleboats were lowered to search for casualties with an additional boat lowered at 18:00 with injured personnel. The ship began moving forward again on the port engine heading for the beach. The crew began heaving the powder from the #3 ready room overboard at 18:12 to prevent it from exploding too. "All engines stop" was called six minutes later, with the main deck under water by 18:20. At 18:23 Erie hit bottom, and "back full" was called as Erie beached itself  off shore. With oil on the water around the ship on fire, the captain called for "all hands abandon ship" at 18:26. The explosion and fire had killed seven of the crew, including officers Lt. Ned James Wentz, Lt. George Kunkle and wounded 11 more. Erie was beached to prevent sinking, and burned for days.

Paragraph 41: At first, the ECJ pointed out that Reed was using a sign in the course of trade which was identical with the trade mark registered by Arsenal FC. In this particular case, there is a trademark infringement. Beyond that the question had to be answered whether any use of the sign of a third party would entitle Arsenal FC to forbid this use. Or if there must be a specific interest by the owner of the registered trade mark. In this point, the ECJ made clear that Article 5 (1) (a) of the trade mark directive requires for its applicability a specific interest. Ensuing, the ECJ pointed out, that a specific interest is constituted by violation of an essential function. The owner of a registered trade mark could only prohibit the use of an identical sign if his interests regarding the essential function of the trade mark violated. The essential function of a registered trade mark is to identify the origin of the goods. So there is no danger of confusion by the customers. A use of an identical sign in a merely describing way would not violate the interest of the owner of the trade mark. The ECJ is convinced that the style of the products sold by Reed could lead to the impression in the course of trade, that there is a relationship between these products and Arsenal FC. Even the disclaimers at the stalls that the products sold by Reed are not official products of Arsenal FC, do not lead to another estimate. Following the opinion of the ECJ, most of all by the time the products left the stalls they can be regarded as official Products of the Arsenal FC by other customers. The interesting point here is that the arguments are identical with those, which lead to the rejection in the claim of passing off. Under this the decision about the claim of passing off maybe has to be reconsidered. But the ECJ did not say anything about this former ruling of the High Court and its arguments. Going back to the case, the ECJ assume to be convinced that the use of a sign which is identical with a registered trade mark is suitable to harm the guarantee of origin and therefore consequently the essential function of a registered trade mark. Consequently, in this particular case, there is a violation of the specific interests of the Arsenal FC by Reed. He used the sign in the meaning of Article 5 (1) of the trade mark directive. Therefore, there is a trade mark infringement by Reed selling products, not official wear by Arsenal FC, but carrying the sign of the Arsenal FC.

Paragraph 42: Sixteen year old Sequin is queer and comfortable with his sexuality and has a healthy relationship with his father. He prefers anonymous and unconditional sexual encounters over having a serious and meaningful relationship. Sequin meets his one-night-stands through a dating app, and quickly ghosts them after their sexual liaison, in order to remain emotionally detached. But that all changes when he has a sexual encounter with B, a much older married man, who becomes obsessed with him and wants to meet up with him again. Back in school, he is asked out on a traditional date by Tommy who has a crush on him, and Sequin accepts. When Sequin gets invited by D to a group sex party at 'The Blue Room', B spots him and begins chasing him, until he is suddenly rescued by Edward, who he then has sex with. Immediately afterwards, Edward leaves telling Sequin to find him "out there", but he doesn't know who he is or anything about him, so he decides to track him down. After returning home from the sex party, Tommy arrives for their date, but Sequin has forgotten about it and blows him off. The next day he hesitantly reconnects with B, and has sex with him again in order to steal his phone to look for clues about The Blue Room. But after his wife keeps on calling the phone now in Sequin's possession, B starts stalking Sequin and pursuing him in order to get his phone back. Later, Sequin finds some contacts in the phone which lead him to an encounter with Virginia, a drag queen, who he ends up getting high with. Sequin is so wasted that he doesn't go home, and his dad gets mad and messages him that he has been kicked out. Near the end, he gets tricked into returning to The Blue Room based on false information on how to find Edward, but when he arrives, he is ambushed by B who savagely beats him. Having nowhere to go, he returns to Virginia's place, where he nurses his wounds, and they end up discussing his obsession with finding Edward. Virginia reveals information that leads to Sequin finally finding Edward, but when he follows him home, he discovers that Edward is in a relationship already. In the end, he reconciles with his dad and goes home, and the final scene shows Sequin and Tommy in his room watching Twilight together.

Paragraph 43: St Philip's Anglican Church in Thompson Estate (as the area was then known) was dedicated on 18 October 1886 by Archbishop of Brisbane William Webber. It was designed by architect John Henry Burley and was built by J.W. Stranson. The church bell was a gift of Abraham Fleetwood Luya and the baptismal font was the gift of stonemason Andrew Lang Petrie. On 7 December 1905, the church was "reduced to ruin" by a severe storm which caused extensive flooding and the death of two children. It was extended and re-dedicated on 1 April 1906 by St. Clair Donaldson, Archbishop of Brisbane, with Henry Wallace Atkinson as architect. The old church was destroyed by fire 28 November 1954 after work on the new church had begun. The current church was consecrated by the Archbishop Reginald Halse on 1 December 1955. It is listed on the Brisbane Heritage Register. There were at least two parishioners that lost their lives at Gallipoli. "At St Philips we know of only two of our parishioners who were part of this landing at Gallipoli who later died on 5 April 1918 in France. The two were good mates and brother and brother in law. They died on the same day in the same battle recorded by the historian Charles Bean. ....Reginald Verry and his brother in law James Victor Atkinson." A state funeral was held at the church for Gordon Brown who was a Senator for Queensland from 1932 to 1965 (as a member of the Australia Labor Party); his ashes are kept in the church's columbarium.

Paragraph 44: "Woodentop" has an unusual place in the history of The Bill due to the original premise of this being a one-off play. After broadcast, Thames commissioned a full series to be shown the following year, under the name The Bill as the show had the potential to appeal to a mass audience. Although The Bill is clearly a continuation from this episode, the main series contradicts it in a number of ways. For instance, in Woodentop Litten has completed his secondment to CID and is close to securing his place in the detective branch, whereas in The Bill he does not gain his CID secondment until halfway through Series One. In addition many central characters in "Woodentop" - such as Sergeant Wilding and Inspector Deeping - vanish between the pilot and the series. Deeping does gain one mention in Series One, in the episode "It's Not Such a Bad Job After All", where Ackland is informed that he is coming to meet her on the scene of a suicide - a later radio transmission, however, reports that Sgt. Bob Cryer is to meet her instead. Although Wilding is not mentioned following Woodentop, he shares several characteristics with Sgt. Cryer - including a position as the "father figure" of the Sun Hill relief, and an apparently tumultuous relationship with Roy Galloway, whom both Cryer and Wilding refer to as a "bloody superstar". In the first episode of Series One, "Funny Ol' Business - Cops and Robbers", Galloway and Cryer make apparent reference to the events of Woodentop in regards to Jim Carver. Galloway suggests that it is Cryer who requested the favour, further suggesting that Cryer and Wilding are in fact the one character, and that, like PC Taffy Morgan (later Taffy Edwards), Jack Wilding's name has merely been changed to Bob Cryer. There are also discrepancies with the naming of some of the characters. In the 2003 live episode of The Bill, made to celebrate the twentieth anniversary of broadcast, Carver and Ackland discuss events from the pilot, whereupon Carver incorrectly refers to the character of Taffy by the surname Morgan, a name that was dropped for the series proper in favour of "Edwards". There are also mistakes made in some of the uniforms the cast wore during the episode, for example, in one scene, PC Dave Litten is on foot patrol with PC Jim Carver, and PC Litten's helmet has GR on the helmet badge where it should have had ER, the same that was on PC Carver's helmet. Also the tunics the male officers wore had a notched lapels with

Paragraph 45: Jake Swirbul and Leroy Grumman met in 1924 at Loening Aeronautical Engineering Co. in New York City, one of the many small aircraft firms that sprang up after World War I. When the firm's Manhattan factory was closed after its sale to Keystone Aircraft in 1929, Swirbul and Grumman decided to form their own company. Grumman mortgaged his house to contribute $16,875, and Swirbul contributed $8,125. Two other Loening employees, William Schwendler and Edmund Ward Poor, contributed a little and former Wall Street banker E. Clinton Towl made up the fifth employee of Grumman Aircraft Engineering Corporation, formed January 2, 1930. Swirbul was the production manager, who understood the dynamics of mass production. He was responsible for the huge output of World War II and was equally adept in ramping down production at the end of the war to ensure the company's survival. Jake found his solutions on a personal, rather than an abstract level. He was always known as a hands on  manager who could get the most out of his workers while treating them with friendship and respect. While Roy Grumman was always referred to as "Mr. Grumman", Jake was always Jake and could be seen out on the shop floor conversing with his men, while checking progress. Grumman was the only manufacturer to start the 1950s in the black. Jake Swirbul died of pneumonia while ill with colon cancer on June 28, 1960, shortly after Grumman began work on the Gemini program and one month after the roll-out ceremony for the A-6 Intruder.

Paragraph 46: The song has been recorded in a number of versions. The Italian version performed by Fran Jeffries appears in the film, but not on the soundtrack album. An instrumental that resembles the underscore of Jeffries' version is included on the soundtrack album, as is a group vocal with only vaguely related English lyrics (which can be heard in the film during the fancy-dress ball and costume party whilst the attempted robbery is taking place). Another Italian version, arranged by Ennio Morricone and performed by Miranda Martino, in 1963, appears on the compilation album Da Hollywood a Cinecittà. Morricone later also did an instrumental version on compilation albums. Another version appears in another Sellers, Blake Edwards & Mancini collaboration, the 1968 film The Party. Other singers to subsequently record the song include Sarah Vaughan, on her 1965 album Sarah Vaughan Sings the Mancini Songbook, and Lena Horne. An instrumental lounge-style version was recorded by The Hub Kings on their album This Way. John Barrowman performed the song during his 2008 tour. Accordionist Frank Marocco recorded the song together with "Quando, quando, quando", as part of a two-song medley on his compilation album Beyond the Sea. His arrangement appears in one of his sheet-music book combinations, titled Latin Rhythms. A Chill-style remake of this song was done by Italian group Mondo Candido. It appears on the mix album Buddha Bar V. A mambo-style version of the song was recorded by the swing revival group Lee Press-on and the Nails for the album El Bando en Fuego. A version of the song was recorded by Mic Gillette on his album Ear Candy. A Spanish version was also recorded in Santiago, Chile,  by Bambi, a popular singer in the mid-1960s. The title was "Mejor Ahora". The Greek singer Elli Paspala performed the Italian version on her 1993 live album Η Ελλη Πασπαλά στο Μέγαρο Μουσικής (Elli Paspala at the Concert Hall).

Paragraph 47: The fugue in E major BWV 552/2 that ends Clavier-Übung III has become known in English-speaking countries as the "St. Anne" because of the first subject's resemblance to a hymn tune of the same name by William Croft, a tune that was not likely known to Bach. A fugue in three sections of 36 bars, 45 bars and 36 bars, with each section a separate fugue on a different subject, it has been called a triple fugue. However, the second subject is not stated precisely within the third section, but only strongly suggested in bars 93, 99, 102-04, and 113-14.The number threeThe number three is pervasive in both the Prelude and the Fugue, and has been understood by many to represent the Trinity. The description of Albert Schweitzer follows the 19th-century tradition of associating the three sections with the three different parts of the Trinity. The number three, however, occurs many other times: in the number of flats of the key signature; in the number of fugal sections; and in the number of bars in each section, each a multiple of three (3 × 12, 3 x 15), as well as in the month (September = 09 or 3 x 3) and year (39 or 3 x 13) of publication. Each of the three subjects seems to grow from the previous ones. Indeed, musicologist Hermann Keller has suggested that the second subject is "contained" in the first. Although perhaps hidden in the score, this is more apparent to the listener, both in their shape and in the resemblance of the quaver second subject to crotchet figures in the countersubject to the first subject. Similarly, the semiquaver figures in the third subject can be traced back to the second subject and the countersubject of the first section.Form of the fugueThe form of the fugue conforms to that of a 17th-century tripartite ricercar or canzona, such as those of Froberger and Frescobaldi: firstly in the way that themes become progressively faster in successive sections; and secondly in the way one theme transforms into the next. Bach can also be seen as continuing a Leipzig tradition for contrapuntal compositions in sections going back to the keyboard ricercars and fantasias of Nicolaus Adam Strungk and Friedrich Wilhelm Zachow. The tempo transitions between different sections are natural: the minims of the first and second sections correspond to the dotted crotchets of the third.Source of the subjectsMany commentators have remarked on similarities between the first subject and fugal themes by other composers. As an example of stile antico, it is more probably a generic theme, typical of the fuga grave subjects of the time: a "quiet " time signature, rising fourths and a narrow melodic range. As  points out, the similarity to the subject of a fugue by Conrad Friedrich Hurlebusch, which Bach himself published in 1734, might have been a deliberate attempt by Bach to blind his public with science. Roger Wibberly has shown that the foundation of all three fugue subjects, as well as of certain passages in the Prelude, may be found in the first four phrases of the chorale "O Herzensangst, O Bangigkeit". The first two sections of BWV 552/2 share many affinities with the fugue in E major BWV 876/2 in The Well-Tempered Clavier, Book 2, written during the same period. Unlike true triple fugues, like the F minor BWV 883 from the same book or some of the contrapuncti in The Art of the Fugue, Bach's intent with BWV 552/2 may not have been to combine all three subjects, although this would theoretically have been possible. Rather, as the work progresses, the first subject is heard singing out through the others: sometimes hidden; sometimes, as in the second section, quietly in the alto and tenor voices; and finally, in the last section, high in the treble and, as the climactic close approaches, quasi-ostinato in the pedal, thundering out beneath the two sets of upper voices. In the second section it is played against quavers; and in parts of the last, against running semiquaver passagework. As the fugue progresses, this creates what Williams has called the cumulative effect of a "mass choir". In later sections, to adapt to triple time, the first subject becomes rhythmically syncopated, resulting in what the music scholar Roger Bullivant has called "a degree of rhythmic complexity probably unparalleled in fugue of any period."First sectionThe first section is a quiet  five-part fugue in the stile antico. The countersubject is in crotchets.

Answer: 21