title: Burnout 3: Takedown

text: World Tour is a single-player career mode that combines Single Races, Road Rage, Crash mode, and several other race variants into a series of 173 events spanning ten locations across the United States, Europe, and Asia. Events are presented on a navigation map and a medal is awarded for every one that is completed successfully. World Tour includes Grand Prix events that group several races together into a point-based tournament. Face-Off is a one versus one race event wherein the player is granted with opposing vehicle if they win. Burning Lap is a single lap time-trial event where the player must beat predetermined lap times. Eliminator is a five lap race in which the driver in last place at the end of each lap gets eliminated. The game features 67 vehicles which are divided into classes based on their speed. New and faster cars are unlocked by earning medals in World Tour mode and achieving milestones such as attaining a certain number of Takedowns or causing a certain amount of damage across Crash mode junctions.


title: Burnout 3: Takedown

text: "Burnout 3" supports split-screen multiplayer and online multiplayer. Five different game modes can be played online in the game. Impact Time is disabled in multiplayer and the gameplay in some modes is tweaked. Single Race is analogous to the single-player version except AI drivers are replaced with other players. Online Road Rage functions differently from offline mode. The online version is a team-based mode that supports up to six players and the objective is to destroy the rival team's cars before a certain number of miles have been driven. The remaining three modes are variations on the Crash mode that can be played online and locally. Team Crush and Double Impact are both two-player modes where both players causes pileups on a Crash junction simultaneously. Team Crush is focused cooperative gameplay while Double Impact is about competing with each other. Party Crash is an eight-player score competition mode where players crash at a junction individually and their scores are compared. In April 2010, online services were shut down.


title: Burnout 3: Takedown

text: "Burnout 3: Takedown" was developed by Guildford-based video game studio Criterion Games. The studio suffered several setbacks during the sequence of events that led up to the creation of "Burnout 3", including the cancellation of a project, a failed pitch, and a fall out with the game's eventual publisher Electronic Arts (EA). In 2002, Criterion was around 130 people divided into two development teams. One team was working on "Burnout 2: Point of Impact", a follow up to "Burnout", set to be published by Acclaim Entertainment. The other team had completed the development of the extreme sports game "AirBlade" for Sony Computer Entertainment Europe. Sony had intentions of continuing to collaborate with Criterion on a sequel to "AirBlade", but the "AirBlade" team turned down the offer. Instead, Criterion began talks with EA, who had a proposal for Criterion to create a remake of the 1988 skateboarding video game "Skate or Die!". Criterion was keen to work with EA and started development on the project. Following "Burnout 2"s release, Criterion prepared a pitch to EA Canada about working on a second game with the publisher. Criterion's proposed title was "Need For Speed: Split Second", a stunt racing game within EA's "Need for Speed" series. Meanwhile, the "Skate or Die!" remake project was thrown into disarray when EA requested changes to the game's design and the creative direction of the project shifted away from Criterion's vision. With development staff becoming unhappy and stressed about the project, the studio decided to contact EA and cancel the game. EA was displeased with their decision and the relationship between the two companies soured, leading to dissolution of the proposed "Need for Speed" game.


title: Burnout 3: Takedown

text: At the 2003 Electronic Entertainment Expo (E3), Criterion Games' director of design Alex Ward was approached by Bruce McMillan, executive vice president at EA Worldwide Studios. McMillan wanted to reconcile EA's relationship with Criterion and partner with them on a game. Initially, Ward refused, citing their experience of working with the publisher. EA persisted and suggested Criterion make "Burnout 3" with them. Originally, the studio was waiting until the next generation of video game hardware launched before starting work on a third instalment. Criterion accepted the deal on the conditions that EA would not interfere with the game's development and that Criterion had the freedom to create the game they wanted. Development on "Burnout 3" began immediately after the expo in June 2003, with a larger team of staff working on the game than its predecessors. By January 2004, Criterion had a build of the game ready to demonstrate to EA. The development team had drafted several subtitles for "Burnout 3" including "Fuel Injection", "Crash and Burn", "Seek and Destroy", "Takedown" along with some more ridiculous suggestions like "See You in Hell". Internally, they felt that "Takedown" was not an appealing choice, but the outcome of EA's focus testing proved otherwise. Despite a rocky start in their relationship with EA, Criterion admitted to benefiting from the publisher's experience throughout the course of "Burnout 3"s development. By July, development on the game was nearly complete with the remaining work confined to bug testing and polishing the experience. On 28 July, EA announced that they had acquired Criterion along with the "Burnout" intellectual property. McMillan stated that their strong expectations for "Burnout 3" and ownership of the series were key reasons for buying Criterion.


title: Burnout 3: Takedown

text: Ward noted that EA's snowboarding video game series "SSX" was an influence for "Burnout 3"s bolder and brasher nature. There was an emphasis on making the game more aggressive than previous instalments. Ward described "Burnout 3" as a game about "fighting through traffic" rather than "racing through traffic". This approach to the game's design led to the introduction of Takedowns, a feature that rewarded the player with boost and points for knocking their opponents off the track. The Takedown mechanic became a focal point of "Burnout 3"s design and led to other innovations. At first, the team were not convinced by the idea of having the game's camera pan to show the crash of a taken out vehicle while the player was driving; however, once it was implemented, they agreed that the feature worked well. From there, they decided to show a player's crash as well, which gave rise to the aftertouch mechanic. The crash mode from "Burnout 2" was expanded and redesigned to be more puzzle-based; aftertouch control, crashbreakers, and multiplayer support were added to the mode. They wanted to include ramps in crash events so that vehicles could fly into traffic, but the game's physics system was designed to push cars down on the track to prevent them from taking off during a race. This caused vehicles to descend immediately after driving off a ramp. To bypass this issue they "killed" the vehicle once it hit the ramp, leaving it a wreck that was unaffected by the driving physics.


title: Burnout 3: Takedown

text: The game was developed on Criterion's proprietary game engine RenderWare. The graphics engine was improved to give between 50–100% faster rendering than in "Burnout 2". The increased performance allowed them to add features like real-time radiosity lighting and better environment mapping effects on vehicles. Programmers at the studio were adamant about making the game run at a frame rate of sixty frames per seconds to offer instant response and feedback while driving fast. Since the crash sequences were slower, the higher frame rate was less considered less critical than the spectacle of the vehicle collisions. They opted to run the game at thirty frames per second during these instances and dramatically increased the number of particles and debris that were rendered. From an early stage in development, the team wanted to include support for online network play in "Burnout 3". They had never explored online play before, so they used "Burnout 2" as a test-bed for the feature before integrating it into "Burnout 3".


title: Burnout 3: Takedown

text: While Criterion had their own audio team to create original music, working with EA allowed them to include licensed music in "Burnout 3". EA launched an initiative called EA TRAX in 2002 with the intent of including licensed tracks in all their games. "Burnout 3"s soundtrack featured over forty songs, delivered in a radio station format presented by DJ Stryker from alternative rock station KROQ-FM. Options were added to modify which songs play during a race or on the menu screen, and the Xbox version supports custom soundtracks.


title: Burnout 3: Takedown

text: Criterion and EA officially announced their partnership for "Burnout 3: Takedown" in March 2004. The game was showcased at several trade shows throughout the year, including E3. "Burnout 3: Takedown" was released for the PlayStation 2 and Xbox consoles on 8 September 2004 in North America, and 10 September in Europe. In Japan, the game released on 14 October and was only available on the PlayStation 2. The PlayStation 2 version of the game included a demo for EA's "", which was scheduled to launch a month after "Burnout 3". Likewise, the PlayStation 2 and Xbox versions of "Underground 2" included a demo for "Burnout 3". In 2008, the Xbox version of "Burnout 3" was re-released as a downloadable emulated package for the Xbox 360 console as part of Microsoft's Xbox Originals scheme.


title: Burnout 3: Takedown

text: Due to Acclaim Entertainment going out of business and Criterion being acquired by EA, "Burnout 3: Takedown" now includes licensed songs by EA's music developer, EA Trax. These songs are mostly different varieties of rock music performed by artists such as Fall Out Boy, Autopilot Off, The Explosion, Jimmy Eat World, My Chemical Romance, as well as The F-Ups (who are known for performing the game's theme song "Lazy Generation"). The original Xbox version also allows custom soundtracks.


title: Burnout 3: Takedown

text: "Burnout 3: Takedown" received "universal acclaim" from professional critics on both platforms according to review aggregator website Metacritic. Based on the game's metascore, it was ranked the second best video game on both platforms in 2004. It is also the highest scoring Xbox racing game of all time and the second highest scoring PlayStation 2 racing game of all time on Metacritic.


title: Burnout 3: Takedown

text: GameSpot editor Jeff Gerstmann opened his review by calling "Burnout 3: Takedown" one of the best racing games of all time, noting that it stood out among contemporaries in the diverse and expanding genre. He felt the quality of the game was high enough to recommend it to gamers who were impartial to driving games. "Edge" magazine regarded "Burnout 3" to be Criterion's finest work to date; they thought the studio had demonstrated their proficiency by revising the series structure and dynamic. They were also mindful of how "Burnout 3"s offered fun and exhilarating experience while other developers were prioritising realism in their games. Andrew Reiner of "Game Informer" wrote that the addition of significant gameplay mechanics had helped craft one of the most addictive racing games ever made. "GamesTM" awarded it a perfect score; they proclaimed that "Burnout 3" was without a doubt the greatest racing game ever made and described playing it as the most fun they had ever had in the genre. GameSpy reviewer Miguel Lopez, who also awarded the game a perfect score, remarked that it was possibly the best arcade racer ever made.


title: Burnout 3: Takedown

text: Reception towards the introduction of Takedowns was highly positive. Reviewers admired the impact that Takedowns had in transforming the boost mechanic and shifting the game's focus to a more aggressive style of driving. "GamesTM" pointed out that the hostile behaviour of AI rivals supplemented the system by presenting more opportunities to perform Takedowns, culminating in an intense and dramatic racing experience. Lopez explained that "Burnout 3" had intelligently integrated elements of vehicular combat games by introducing Takedowns. Gerstmann commended the game's use of Impact Time and Aftertouch mechanics, which he believed made crashing an entertaining aspect of the game, unlike other racers. IGN's Fran Mirabella III was amazed by the crash system; he considered it to be far ahead of anything that had been done before.


title: Burnout 3: Takedown

text: The expanded and refined Crash mode was embraced by critics who found the gameplay to be addictive. Reiner highlighted Crash mode as his favourite part of the game, and "Eurogamer" writer Kristan Reed stated that it was the mode he spent the most time playing. "Edge" welcomed the inclusion of ramps and aftertouch, stating that the design of the mode had become "more complex and focused". They thought Crash mode had evolved into a substantial component that was capable of being released as a standalone product. Mirabella and Reed both complimented the balance and variation of events in World Tour, and "GamesTM" was pleased with the amount of content featured in the single-player component. Gerstmann agreed that "Burnout 3" offered a large amount of content and excellent replay value. He also felt that the progression of difficulty in World Tour was done effectively by introducing a faster cars throughout the campaign at reasonable pace. Reviewers were in agreement that "Burnout 3"s engaging and frenetic gameplay remained intact during online play. Reed stated that he would have liked to see the single-player content become more integrated into the online component, citing other existing racing games as examples. He thought that progress across single-player events should be recorded in online leaderboards enabling score comparisons with friends. Mirabella believed Criterion had largely triumphed in creating a great online component.


title: Burnout 3: Takedown

text: The game's visuals and spectacle were lauded by critics who suspected that it would amaze players. Reed questioned whether it was the best looking game to have ever been made. Critics observed that the use of high frame rate and motion blur helped convey an incredible sense of speed. Other aspects such particle effects, reflections, and real-time deformation drew praise as well. Critics expressed approval over the sound design of the cars and collisions. However opinions of the licensed soundtrack and DJ were less favourable. Some writers found the DJ's enthusiastic dialogue to be annoying and had mixed opinions on the songs included in the soundtrack, but were thankful for the available audio customisation options.


title: Burnout 3: Takedown

text: "Burnout 3: Takedown" received numerous awards from the video games media and independent awards organisations following its release. "Official U.S. PlayStation Magazine" and "Official U.S. Xbox Magazine" both ranked "Burnout 3: Takedown" as their "Game of the Year" ahead of "" and "Halo 2" respectively. Eurogamer staff rated "Burnout 3" in ninth place on their list of the top fifty games of 2004. "GameSpot" named it the best Xbox game of September 2004, and it won the publication's annual "Best Driving Game" award across all platforms. At the 2nd British Academy Games Awards, "Burnout 3" won three awards in the "PS2", "Racing", and "Technical Direction" categories, and received three further nominations in the "Art Direction", "Online Multiplayer", and "Xbox" categories. The game won "Racing Game of the Year" and was nominated for "Console Game of the Year" at the 2005 Interactive Achievement Awards. For its showcase at E3 2004, "Burnout 3" won "Best Racing Game" from the Game Critics Awards. At the 2004 Golden Joystick Awards, "Burnout 3" won the "PlayStation 2 Game of the Year" category and was a runner-up for "Online Game of the Year". At the 2004 Spike Video Game Awards, "Burnout 3" won "Best Driving Game" and was nominated for "Game of the Year". It also won the viewer's choice award for "Most Addictive Game". Alex Ward and Criterion were nominated for "Designer of the Year" for their work on "Burnout 3".


title: Burnout 3: Takedown

text: "Burnout 3: Takedown" debuted at number one in the UK software chart. During the game's launch week in the UK, 57% of sales were for the PlayStation 2 and 43% were for the Xbox. The game became the fourth fastest selling Xbox title ever in the UK. Sales of the PlayStation 2 version increased by 32% the following week. In Europe as a whole, "Burnout 3" sold above 1 million units by the end of September 2004. The game's PlayStation 2 version ultimately received a "Platinum" sales award from the Entertainment and Leisure Software Publishers Association (ELSPA), indicating sales of at least 300,000 copies in the United Kingdom. In Australia, "Burnout 3" placed in third and ninth respectively in the PlayStation 2 and Xbox software charts at launch. The game performed strongly in Japan, achieving 32,000 sales during launch week and debuted in second place on the software charts. By July 2006, the PlayStation 2 version of "Burnout 3" had sold 900,000 copies and earned $28 million in the United States. "Next Generation" ranked it as the 65th highest-selling game launched for the PlayStation 2, Xbox or GameCube between January 2000 and July 2006 in that country. Combined console sales of "Burnout" games released in the 2000s reached 2.3 million units in the United States by July 2006.


title: Burnout 3: Takedown

text: In 2005, Criterion launched their follow-up to "Burnout 3: Takedown", titled "Burnout Revenge". "Revenge" retained Takedowns but continued to evolve the aggressive style of driving by introducing new features such as the ability to knock traffic out of the way and into opponents. With "Revenge", Criterion wanted to set the game on its own path rather than just recreate "Burnout 3" again. Ward admitted that later "Burnout" games may not have recaptured the same quintessential feeling that "Burnout 3" did. He considered "Burnout 3" to be the game that he was most proud of working on and a high point for the studio.


title: Burnout 3: Takedown

text: Retrospective coverage of "Burnout 3: Takedown" has been overwhelmingly favourable, with many publications considering it to be among the best games released for the PlayStation 2 and Xbox consoles, as well as one of the greatest racing games ever made. "Edge" magazine called the game a pivotal moment for the series and reflected positively on the fundamental changes that had Criterion made in designing it. They praised the game for being balanced all round while noting that later instalments like "Revenge" and "Dominator" had pushed the series too far in a particular direction, consequently diluting a lot of what "Burnout 3" had accomplished. IGN reaffirmed these thoughts in 2015, by declaring the game as the most perfect arcade racer ever conceived and the peak of the series. In 2015, "USgamer" listed "Burnout 3: Takedown" as the twelfth best game since 2000, stating that it remained at the forefront of the arcade racing genre.


title: Abhijeet Sawant

text: Abhijeet Sawant is an Indian singer, television actor, anchor and the winner of first season of "Indian Idol". He was the first runner up of "Jo Jeeta Wohi Super Star" and finished third in "Asian Idol".


title: Abhijeet Sawant

text: Sawant was born on 7 October 1981. He grew up in the Sindhudurg district of Maharashtra and developed an interest in music. After graduating from Chetana College of Commerce & Economics, Sawant became keen on joining and working in the music industry.


title: Abhijeet Sawant

text: Abhijeet Sawant won the first season of "Indian Idol", an adaptation of the Pop Idol format, in 2004. His first solo album, "Aapka Abhijeet Sawant", was released on 7 April 2005. That year he also did playback singing in the movie "Aashiq Banaya Aapne", performing the song "Mar Jaawan Mit Jaawan".


title: Abhijeet Sawant

text: Abhijeet Sawant was a finalist of "Clinic All Clear Jo Jeeta Wohi Superstar" on Star Plus in 2008. The show was a competition between the winners and runners-up of various singing reality shows on Indian television. Sawant became the first runner up of the show.


title: Abhijeet Sawant

text: Sawant made his acting debut in the movie "Lottery" in 2009. He also made a small appearance at the end of film "Tees Maar Khan".


title: Abhijeet Sawant

text: He made a special appearance as himself in the romantic drama series "Kaisa Ye Pyar Hai" and thriller crime series "C.I.D."


title: Abhijeet Sawant

text: Sawant and his wife Shilpa participated in the Dancing Reality Show Nach Baliye (Season 4) in (2008–2009). They were eliminated after facing public votes.


title: Abhijeet Sawant

text: In 2010, he was arrested in charges of a hit and run case. Although he denied it and said he was not drunk during accident.


title: Urechis unicinctus

text: Urechis unicinctus, known as the fat innkeeper worm or penis fish, is a species of marine spoon worm in East Asia. It is found in Bohai Gulf of China and off the Korean and Hokkaido coasts. It is not to be confused with a closely related species, "Urechis caupo", which occurs on the western coast of North America and shares common names. The body is about 10–30 cm long, cylindrical in shape and yellowish-brown in color. On the surface of the body there are many small papillae.


title: Urechis unicinctus

text: This spoonworm is a detritivore, feeding on detritus and lives and burrows in sand and mud like other "Urechis" species. It creates a U-shaped burrow in the soft sediment of the seabed. A ring of glands at the front of the proboscis secrete mucus which sticks to the burrow wall. The worm continues to exude mucus as it moves backwards in the burrow thus creating a mucus net. The worm draws water through its burrow by peristaltic contractions of its body and food particles adhere to the net. When enough food is gathered, the worm moves forward in its burrow and swallows the net and entangled food. This process is repeated, and in an area with plenty of detritus, may be completed in only a few minutes.


title: Urechis unicinctus

text: Large numbers have been known to become stranded on beaches in Japan, but further studies must be dedicated as to why. The original theory was that it was beached solely due to sea storms, but scientists also theorize that they swim at night to reproduce, which would raise the chances of beachings.


title: Urechis unicinctus

text: In Korea, they are eaten as food, often raw with salt and sesame oil or gochujang. They are distributed in Korea, Hokkaido, and the Pacific coast.


title: Urechis unicinctus

text: In Chinese cuisine, the worm is stir-fried with vegetables, or dried and powdered to be used as an umami enhancer.


title: Arena Kombëtare

text: Arena Kombëtare (; known for sponsorship reasons as the Air Albania Stadium) is an all-seater, multi-purpose football stadium located in the capital city of Tirana which was built on the ground of the former Qemal Stafa Stadium. The stadium has a seating capacity of 22,500 constituting the largest stadium in Albania.


title: Arena Kombëtare

text: The stadium is owned by the governing body of Albanian football, the Albanian Football Association (FSHF) and the Albanian State through Shoqëria Sportive Kuq e Zi Sh.A, a subsidiary established for the purpose of building, managing and maintaining the structure.


title: Arena Kombëtare

text: Designed by Marco Casamonti of Archea Associati, the structure of the stadium is a peculiar multi-faceted form (an 8-faceted rectangle) so that each side allows access to distinct functions. At one corner of the stadium structure is an 112-metre tall tower (24 floors). Each facet accommodates different streams, thus identifying users of private areas, such as the hotel tower, shopping areas and stadium spectators.


title: Arena Kombëtare

text: In May 2022, the stadium hosted the first ever Europa Conference League final between AS Roma and Feyenoord Rotterdam.


title: Arena Kombëtare

text: The stadium is located in the city-centre of the capital city of Tirana. Precisely on the Italia Square which itself is alongside one of the two main squares of the city, the Mother Teresa Square, named after the Albanian-born Saint Teresa of Calcutta. Both squares are located at the southern end of the Dëshmorët e Kombit Boulevard, which on that side is confined to the University of Tirana building and the Grand Park of the city. The whole area, including the old Qemal Stafa Stadium, was conceived and built during the Kingdom of Albania and later during the Italian occupation by architects and urban planners Gherardo Bosio, Armando Brasini and Florestano Di Fausto. The stadium is surrounded by other public buildings such as the University of Tirana, the Palace of Congress, the Archaeological Museum, University of Arts, the Presidential palace, etc.


title: Arena Kombëtare

text: For more than 60 years since its construction, Qemal Stafa Stadium served as the main stadium in Albania, the home of the Albania national team, as well as the home of several athletic competitions and other events. After its degradation over the years, around 2010s the Albanian Football Association (FSHF) and the Albanian government began to discuss the possibility of renovating the facility or, if not possible, building a new stadium in the same location. The government and the FSHF came to an agreement to create a joint venture that would handle the tendering, construction and then management of the new stadium, with the condition that the destination of the sports facility would not be changed. Thus, on 26 March 2011, was established Qëndra Sportive Kuq e Zi Sh.A with 70% of shareholding belonging to the FSHF and 25% to the Albanian Government through the Ministry of Sports.


title: Arena Kombëtare

text: On 19 October 2010, Albania's PM Sali Berisha after a meeting with the President of UEFA Michel Platini, declared that the government is seriously considering the construction of a new stadium. Soon after, at a meeting of the Council of Ministers on 2 February 2011, a decision was taken that for the 100th Anniversary of the Independence of Albania, which will occur in 2012, a new national stadium will be built in Tirana. Fenwick Iribarren Architects was commissioned to design the new stadium. The project envisioned the construction of a 33,000 all-seated stadium with an exterior facade representing Albanian state borders and its flag colours. But it never went ahead with the implementation of the project, considering it too expensive for the state budget which would cover most of the construction costs.


title: Arena Kombëtare

text: In November 2013 the President of the FSHF, Armand Duka stated that UEFA will no longer allow European competitions such as the Champions League, UEFA Europa League and other international leagues to be played at Qemal Stafa Stadium or any other stadium in Albania because neither of them does not meet UEFA standards. Consequently, the Albania national team and the Albanian Superliga teams participating in international competitions risked playing their matches abroad. Soon after, FSHF in cooperation with the new government elected, took steps to finance the reconstruction of the Elbasan Arena stadium to avoid UEFA's penalties, thus giving time for the construction of a new national stadium in Tirana.


title: Arena Kombëtare

text: Efforts were made again in 2015, but this time trying new forms of financing without burdening the state budget. The Italian company Serenissima Costruzioni in collaboration with MANICA Architecture and Progetto CMR as designer, presented its project for the stadium. The project envisioned the transfer of ownership of all non-sporting and commercial spaces in favour of the company, as well as the construction of a tower on one side of the stadium which would also be owned by the company. This attempt also failed during negotiations between the government and the investor because the company requested the government to provide bank guarantees for the loans that the company would obtain during construction.


title: Arena Kombëtare

text: On 22 May 2016 after the stadium was previously excluded from UEFA due to non-compliance with the standards, the last match between FK Kukësi and KF Laçi valid for the Albanian Cup Final was played in the Qemal Stafa Stadium before its final closure until the new stadium begins to build.


title: Arena Kombëtare

text: A final attempt was made the following month by reopening the invitation to tender, with AlbStar Sh.p.k presenting a concrete offer. Compared to previous projects, AlbStar presented a new project with a reduced capacity of 22.500 all-seated stadium which also envisioned a tower in one corner of the stadium structure. The project was designed by Florentine architect Marco Casamonti of Archea Associati, who envisioned a faceted rectangular stadium bound by a curved line. Such a form of the stadium was associated with the symbolism of the map of Albania which has a similar rectangular shape from north to south with some curved incisions at the northeast, northwest, southeast and southwestern extremes of the country. The external facade is covered with black and red metal panels combining them with the use of glass on the whole facade, including the tower. The metal panels have a curved triangular form, stylised with some shapes reminiscent of traditional Albanian carpets. The tower itself is 112 metres high and it fits the curved line of the structure on that side. The sports spaces inside the stadium consists of 3 uniform two-ring grandstands, and the main grandstand of one level which serves only for VIP stands.


title: Arena Kombëtare

text: On 21 April 2016, the project was officially presented by the President of FSHF Armand Duka, accompanied by the PM Edi Rama. At the design stage and during its presentation, the project was named "Arena Kombëtare" "()", becoming the common name and widely used throughout its construction. The preliminary cost of the construction was initially said to be around € 50 million but later was increased to 60m, and according to comments from FSHF officials, the final cost exceeded 75 million euros.


title: Arena Kombëtare

text: The signed contract stipulates that most of the cost of construction will be carried out by the private company itself, somewhere around € 40 million, and the difference of € 10 million would be covered by UEFA’s HatTrick assistance programme. Also, any cost increases during construction would also be carried by the company. While the company would be rewarded with the ownership of all non-sporting parts and the tower which will be built simultaneously on one corner of the structure, as well as exempting the company from VAT payments for any work done related to the project.


title: Arena Kombëtare

text: On the other hand, any other cost for everything sports spaces or game-related spaces will be carried out by the federation itself in cooperation with the government. The FSHF will pay for the interior design of the sports spaces, such as the changing rooms, conference rooms, etc. Also for the natural grass for the pitch, all the seats, the LED floodlights, as well as a large screen also in LED to be installed on the roof of the main grandstand.


title: Arena Kombëtare

text: On 9 June 2016, the demolition of the National Stadium Qemal Stafa officially began. A new stadium, the Arena Kombëtare, will be built in its place, which will serve as the new home of the Albania national football team. The stadium will have 21,690 seats, but the facility is projected to be multi-functional. Simultaneously with the demolition began the disassembling stone by stone of the monumental staircase built by Gherardo Bosio in 1939, which is considered Monument of Culture and part of the cultural heritage of the capital. It will be conserved and then integrated by reassembled in the same location into the new stadium, where it will serve the same function as the main entrance to the stadium as it has had since its construction.


title: Arena Kombëtare

text: Initially it was said that at least the sports areas of the stadium would be completed within two years of the start of construction, otherwise there would be penalties for the company. But since the beginning of the works there were problems with the sewage system of the capital which passed just under the old stadium, which caused the work to be delayed until the solution was found in cooperation with the Municipality. Then there were some other postponements making the stadium finally wrap up on 10 November 2019, waiting for the first time a test match between women's football teams of Vllaznia Shkodër and Apolonia Fier.


title: Arena Kombëtare

text: The FSHF initially announced that the stadium would most likely be inaugurated on 11 June 2019 but had to be tested and inspected by UEFA officials beforehand. However, the plan for the inauguration was postponed due to the delay in work and the pitch just being installed.


title: Arena Kombëtare

text: The first test match was originally set to be played on 3 November, but was delayed by a week due to heavy rains. The first match, a women's fixture between KF Vllaznia and KF Apollonia held on 10 November, was attended by many fans and won by Vllaznia 2–0, with the first-ever goal at the stadium scored by Arbiona Bajraktari.


title: Arena Kombëtare

text: Arena Kombëtare, now under the new official name of Air Albania Stadium, was officially inaugurated with a ceremony on 17 November 2019, 1274 days after the final game at the old stadium. The first match, was valid for the Euro 2020 qualifiers played at 20:45 between the national teams of Albania and France, which the host team lost 0–2. A crowd of more 21,000 was in attendance. Many celebrities of sport, politics and art were invited to the ceremony, with the UEFA President Aleksander Čeferin and Prime Minister of Albania Edi Rama were among them.


title: Arena Kombëtare

text: Since 1946, the time at which the stadium was finished, was named Qemal Stafa Stadium in honour of Qemal Stafa, a hero of the second world war and founder of the Communist Party, which was in power after the war. The old stadium held this name until 9 June 2016, the day on which its demolition officially began.


title: Arena Kombëtare

text: During a ceremony held to present the winning project and the conclusion of the agreement for the construction of the new stadium, Albania's PM Edi Rama referred to the new stadium with the name of "Arena Kombëtare". This made the stadium widely known and referred to as "Arena Kombëtare" from the day the works began until a few weeks before the completion of the work. However, much controversy arose during the construction of whether the stadium should retain its old name "Qemal Stafa", the new one "Arena Kombëtare" or should be renamed in honour of a prominent Albanian football player to honour him as well as the history of this sport in the country. The most discussed figure was that of Panajot Pano, the former striker of KF Partizani, one of the capital's teams, as well as the national football team player. His name is widely respected and is considered one of the greatest footballers the country has ever known.


title: Arena Kombëtare

text: Towards the end of the works, however, the FSHF hinted that the stadium could be named after a private company for sponsorship reasons. According to the federation, such a stadium will require ongoing funding due to maintenance and this necessitates taking advantage of any sponsorship opportunities.


title: Arena Kombëtare

text: This led to the opening of the tender on 8 August 2019, just months before the inauguration, for the new stadium name. Some domestic and foreign companies were interested in the competition, including oil, telecommunications, insurance, and airline companies. On 15 November 2019, Kuq e Zi Sh.A issued a press release announcing that two companies, Bolv Oil and Air Albania, went in the final phase of negotiations. With the Air Albania being announced as the winner with the most favourable bid.


title: Arena Kombëtare

text: The deal stipulates that within the next five years starting from the date of signing, the new stadium name will be "Air Albania Stadium". It was also decided that each tribune would have its own name.


title: Arena Kombëtare

text: The stadium is located near the centre of the capital Tirana. The building built on the side of the stadium includes a Tirana Marriott Hotel. The stadium includes a history museum, changing rooms, and other facilities such as cafeterias, lavatories including access for the disabled, a press area, a convention centre, a trophy room, etc.


title: Arena Kombëtare

text: There is no room for a running track as capacity will grow to over 22,000 seats, all covered. The overall project is part of the Arena Shopping Centre together with the 112-metre tower, 80-room hotel and 256 underground parking spaces. All of the stadium facilities will be hidden behind a unique set of blinders in national colours of Albania.


title: Arena Kombëtare

text: In October 2020, the Municipality of Tirana alongside the Albanian-American Development Fund (AADF) decided to temporarily open the TUMO Center on the Arena Kombëtare internal spaces. The center offers for adolescents aged 12–18, extracurricular educational programs, innovative in design and technology, providing adolescents with space and equipment to advance their education while developing technical skills. The original location of the TUMO Tirana is the Pyramid of Tirana which is planned to be reconstructed and returned to the headquarters of this teaching center.


"Will no one rid me of this turbulent priest?" (also expressed as "troublesome priest" or "meddlesome priest") is a quote attributed to Henry II of England preceding the death of Thomas Becket, the Archbishop of Canterbury, in 1170. While the quote was not expressed as an order, it prompted four knights to travel from Normandy to Canterbury, where they killed Becket. The phrase is commonly used in modern-day contexts to express that a ruler's wish may be interpreted as a command by his or her subordinates.


title: Will no one rid me of this turbulent priest?

text: According to historical records, Henry made the outburst on Christmas 1170 at his castle at Bures, Normandy, at the height of the Becket controversy. He had just been informed that Becket had excommunicated a number of bishops supportive of the king, including the Archbishop of York. Edward Grim, who was present at Becket's murder and subsequently wrote the "Life of St. Thomas", quotes Henry as saying:


text: The popular version of the phrase was first used in 1740 by the author and bookseller Robert Dodsley, in his "Chronicle of the Kings of England", where he described Henry II's words as follows: "O wretched Man that I am, who shall deliver me from this turbulent Priest?" This was modelled on Romans 7:24: "O wretched man that I am! who shall deliver me from the body of this death?" A similar version of the phrase was later used in George Lyttleton's 1772 "History of the Life of King Henry the Second", where the quote is rendered as "[he said] that he was very unfortunate to have maintained so many cowardly and ungrateful men in his court, none of whom would revenge him of the injuries he sustained from one turbulent priest." In "The Chronicle of the Kings of England" (1821), it becomes "Will none of these lazy insignificant persons, whom I maintain, deliver me from this turbulent priest?", which is then shortened to "who shall deliver me from this turbulent priest?"


text: No such phrase is spoken in T. S. Eliot's 1932 play "Murder in the Cathedral", as Henry does not appear in that play. In Jean Anouilh's 1959 play "Becket", Henry says, "Will no one rid me of him? A priest! A priest who jeers at me and does me injury." In the 1964 film "Becket", which was based on the Anouilh play, Henry says, "Will no one rid me of this meddlesome priest?"


text: Reportedly, upon hearing the king's words, four knights—Reginald FitzUrse, Hugh de Morville, William de Tracy and Richard le Breton—travelled from Normandy to Canterbury with the intention of forcing Becket to withdraw his excommunication, or, alternatively, taking him back to Normandy by force. The day after their arrival, they confronted Becket in Canterbury Cathedral. When Becket resisted their attempts to seize him, they slashed at him with their swords, killing him. Although nobody, even at the time, believed that Henry directly ordered that Becket be killed, his words had started a chain of events that was likely to have such a result. Moreover, as Henry's harangue had been directed not at Becket, but at his own household, the four probably thought that a failure to act would be regarded as treachery, potentially punishable by death.


text: Following the murder, Becket was venerated and Henry was vilified. There were demands that the king be excommunicated. Pope Alexander forbade Henry to hear Mass until he had expiated his sin. In May 1172, Henry did public penance in Avranches Cathedral.


text: The four knights subsequently fled to Scotland and from there to Knaresborough Castle in Yorkshire. All four were excommunicated by Pope Alexander in 1171 during Easter and ordered to undertake penitentiary pilgrimages to the Holy Land for 14 years.


text: According to Alfred H. Knight, the phrase "had profound long-term consequences for the development of constitutional law" because its consequences forced the king to accept the benefit of clergy, the principle that secular courts had no jurisdiction over clergy.


text: It has been said that the phrase is an example of "direction via indirection", in that it provides the speaker with plausible deniability when a crime is committed as a result of their words.


text: "The New York Times" commented that even though Henry might not actually have said the words, "in such matters historical authenticity may not be the point". The phrase has been cited as an example of the shared history with which all British citizens should be familiar, as part of "the collective memory of their country".


text: In a 2009 BBC documentary on the "Satanic Verses" controversy, journalist and newsreader Peter Sissons described a February 1989 interview with the Iranian chargé d'affaires in London, Mohammad Mehdi Akhondzadeh Basti. The position of the Iranian government was that the "fatwa" against Salman Rushdie declared by Iran's Supreme Leader Ayatollah Khomeini was "an opinion". Sissons described this argument as being "a bit like the, 'who will rid me of this turbulent priest', isn't it?"


text: In a 2017 appearance before the Senate Intelligence Committee, former FBI director James Comey testified that US President Donald Trump had told him that he "hoped" Comey could "let go" of any investigation into Michael Flynn; when asked if he would take "I hope", coming from the president, as a directive, Comey answered, "Yes. It rings in my ears as kind of 'Will no one rid me of this meddlesome priest?


title: Indian martial arts

text: Indian martial arts refers to the fighting systems of the Indian subcontinent. A variety of terms are used for the English phrases “Indian martial arts”, deriving from ancient sources. While they may seem to imply specific disciplines (e.g. archery, armed combat), by Classical times they were used generically for all fighting systems.


title: Indian martial arts

text: Among the most common terms today, "śastra-vidyā", is a compound of the words ' (weapon) and ' (knowledge). "Dhanurveda" derives from the words for bow (') and knowledge ('), the “science of archery” in Puranic literature, later applied to martial arts in general. The Vishnu Purana text describes dhanuveda as one of the traditional eighteen branches of “applied knowledge” or upaveda, along with "shastrashastra" or military science. A later term, "yuddha kalā", comes from the words "yuddha" meaning fight or combat and "kalā" meaning art or skill. The related term "śastra kalā" (lit. weapon art) usually refers specifically to armed disciplines. Another term, "yuddha-vidyā" or “combat knowledge”, refers to the skills used on the battlefield, encompassing not only actual fighting but also battle formations and strategy. Martial arts are usually learnt and practiced in the traditional akharas.


title: Indian martial arts

text: An Indus valley civilization seal shows two men spearing one another in a duel which seem to be centered on a woman. A statue of a spear thrower was also excavated from an Indus valley site.


title: Indian martial arts

text: "Dhanurveda", a section found in the Vedas (1500 BCE - 1100 BCE) contains references to martial arts. Indian epics contain the earliest accounts of combat, both armed and bare-handed. Most deities of the Hindu-Buddhist pantheon are armed with their own personal weapon, and are revered not only as master martial artists but often as originators of those systems themselves. The "Mahabharata" tells of fighters armed only with daggers besting lions, and describes a prolonged battle between Arjuna and Karna using bows, swords, trees, rocks and fists. Another unarmed battle in the Mahabharata describes two combatants boxing with clenched fists and fighting with kicks, finger strikes, knee strikes and headbutts.


title: Indian martial arts

text: The oldest recorded organized unarmed fighting art in the Indian subcontinent is malla-yuddha or combat-wrestling, codified into four forms in the Vedic Period. Stories describing Krishna report that he sometimes engaged in wrestling matches where he used knee strikes to the chest, punches to the head, hair pulling, and strangleholds. Based on such accounts, Svinth (2002) traces press-ups and squats used by Indian wrestlers to the pre-classical era.


title: Indian martial arts

text: In Sanskrit literature the term "dwandwayuddha" referred to a duel, such that it was a battle between only two warriors and not armies. Epics often describe the duels between deities and god-like heroes as lasting a month or more. The malla-yuddha (wrestling match) between Bhima and Jarasandha lasts 27 days. Similarly, the "dwandayuddha" between Parasurama and Bhishma lasts for 30 days, while that between Krishna and Jambavan lasts for 28 days. Likewise, the "dwandwayudda" between Bali and Dundubhi, a demon in the form of a water buffalo, lasts for 45 days. The Manusmriti tells that if a warrior's topknot comes loose during such a fight or duel, the opponent must give him time to bind his hair before continuing.


title: Indian martial arts

text: The "Charanavyuha" authored by Shaunaka mentions four "upaveda" (applied Vedas). Included among them are archery ("dhanurveda") and military sciences ("shastrashastra"), the mastery of which was the duty ("dharma") of the warrior class. Kings usually belonged to the kshatria (warrior) class and thus served as heads of the army. They typically practiced archery, wrestling, boxing, and swordsmanship as part of their education. Examples include such rulers as Siddhartha Gautama and Rudradaman. The Chinese monk Xuanzang writes that the emperor Harsha was light on his feet despite his advancing age and managed to dodge and seize an assailant during an assassination attempt.


title: Indian martial arts

text: Many of the popular sports mentioned in the Vedas and the epics have their origins in military training, such as boxing ("musti-yuddha"), wrestling ("maladwandwa"), chariot-racing ("rathachalan"), horse-riding ("aswa-rohana") and archery ("dhanurvidya"). Competitions were held not just as a contest of the players' prowess but also as a means of finding a bridegroom. Arjuna, Rama and Siddhartha Gautama all won their consorts in such tournaments.


title: Indian martial arts

text: In the 3rd century, elements from the Yoga Sutras of Patanjali, as well as finger movements in the "nata" dances, were incorporated into the fighting arts. A number of Indian fighting styles remain closely connected to yoga, dance and performing arts. Some of the choreographed sparring in kalaripayat can be applied to dance and kathakali dancers who knew kalaripayat were believed to be markedly better than other performers. Until recent decades, the chhau dance was performed only by martial artists. Some traditional Indian classical dance schools still incorporate martial arts as part of their exercise regimen.


title: Indian martial arts

text: Written evidence of martial arts in Southern India dates back to the Sangam literature of about the 2nd century BC to the 2nd century AD. The Akananuru and Purananuru describe the use of spears, swords, shields, bows and silambam in the Sangam era. The word kalari appears in the "Puram" (verses 225, 237, 245, 356) and "Akam" (verses 34, 231, 293) to describe both a battlefield and combat arena. The word "kalari tatt" denoted a martial feat, while "kalari kozhai" meant a coward in war. Each warrior in the Sangam era received regular military training in target practice and horse riding. They specialized in one or more of the important weapons of the period including the spear ("vel"), sword ("val"), shield ("kedaham"), and bow and arrow ("vil ambu"). The combat techniques of the Sangam period were the earliest precursors to kalaripayat. References to “Silappadikkaram” in Sangam literature date back to the 2nd century. This referred to the silambam staff which was in great demand with foreign visitors.


title: Indian martial arts

text: The ten fighting styles of northern sastra-vidya were said to have been created in different areas based on animals and gods, and designed for the particular geography of their origin. Tradition ascribes their convergence to the 6th-century Buddhist university of Takshashila, ancient India's intellectual capital. Located in present-day Panjab, Pakistan, the Ramayana ascribes the city's founding to Bharata who named it after his son Taksha. From the 7th to the 5th centuries BC it was held in high regard as a great centre of trade and learning, attracting students from throughout present-day Pakistan and northern India. Among the subjects taught were the “military sciences”, and archery was one of its prime arts.


title: Indian martial arts

text: Some measures were put into place to discourage martial activity during the Buddhist period. The Khandhaka in particular forbids wrestling, boxing, archery, and swordsmanship. However, references to fighting arts are found in early Buddhist texts, such as the Lotus Sutra (c. 1st century AD) which refers to a boxing art while speaking to Manjusri. It also categorised combat techniques as joint locks, fist strikes, grapples and throws. The Lotus Sutra makes further mention of a martial art with dance-like movements called "Nara". Another Buddhist sutra called "Hongyo-kyo" (佛本行集經) describes a “strength contest” between Gautama Buddha's half-brother Prince Nanda and his cousin Devadatta. Siddhartha Gautama himself was a champion wrestler and swordsman before becoming the Buddha.


title: Indian martial arts

text: Like other branches of Sanskrit literature, treatises on martial arts become more systematic in the course of the 1st millennium AD. Vajra-musti, an armed grappling style, is mentioned in sources of the early centuries AD. Around this time, tantric philosophers developed important metaphysical concepts such as kundalini, chakra, and mantra.


title: Indian martial arts

text: The "Sushruta Samhita" (c. 4th century) identifies 108 vital points on the human body of which 64 were classified as being lethal if properly struck with a fist or stick. Sushruta's work formed the basis of the medical discipline ayurveda which was taught alongside various martial arts. With numerous other scattered references to vital points in Vedic and epic sources, it is certain that Indian subcontinent's early fighters knew and practised attacking or defending vital points.


title: Indian martial arts

text: Around 630, King Narasimhavarman of the Pallava dynasty commissioned dozens of granite sculptures showing unarmed fighters disarming armed opponents. This is similar to the style described in the "Agni Purana".


title: Indian martial arts

text: Martial arts were not exclusive to the kshatriya caste, though the warrior class used them more extensively. The 8th-century text "Kuvalaymala" by Udyotanasuri recorded fighting techniques being taught at educational institutions, where non-kshatriya students from throughout the subcontinent “were learning and practicing archery, fighting with sword and shield, with daggers, sticks, lances, and with fists, and in duels ("niyuddham")”. Hindu priests of the traditional gurukula still teach unarmed fighting techniques to their students as a way of increasing stamina and training the physical body.


title: Indian martial arts

text: The early Rajput dynasty Gurjara-Pratihara came into power during the 7th century and founded a kyshatria dynasty in northern India which exceeded the preceding Gupta Empire. During this period, Emperor Nagabhata I (750–780 AD) and Mihir Bhoja I (836–890) commissioned various texts on martial arts, and were themselves practitioners of these systems. "Shiva Dhanuveda" was composed in this era. The "khadga", a two-handed broad-tipped heavy longsword, was given special preference. It was even used for "khadga-puja", ritualised worship of the sword. The Gurjara-Pratiharas continuously fought off Arab invasions, particularly during the Caliphate campaigns in India. The Arab chronicler Sulaiman wrote of the Gurjara ruler as the greatest foe to Islamic expansion, while at the same time praising his cavalry.


title: Indian martial arts

text: Kalaripayat had developed into its present form by the 11th century, during an extended period of warfare between the Chera and Chola dynasties. The earliest treatise discussing the techniques of malla-yuddha is the "Malla Purana" (c. 13th century), unlike the earlier "Manasollasa" which gives the names of movements but no descriptions.


title: Indian martial arts

text: Over a period of several centuries, invading Muslim armies managed to occupy much of present-day Pakistan and northern India. In response to the spread of Muslim rule, the kingdoms of South India united in the 14th century to found the Vijayanagara Empire. Physical culture was given much attention by both royalty and commoners in the empire, with wrestling being particularly popular with both men and women. Gymnasiums have been discovered inside royal quarters of Vijayanagara, and records speak of regular physical training for commanders and their armies during peacetime. Royal palaces and market places had special arenas where royalty and common people alike amused themselves by watching matches such as cockfights, ram fights, and wrestling. One account describes an akhara in Chandragiri where noblemen practiced jumping exercises, boxing, fencing and wrestling almost every day before dinner to maintain their health, and observed that “men as old as seventy years look only thirty”.


title: Indian martial arts

text: The Italian traveller Pietro Della Valle wrote of cane-fighting in southern India. According to Pietro, it was the custom for soldiers to specialise in their own particular weapon of expertise and never use any other even during war, “thereby becoming very expert and well practised in that which he takes to”.


title: Indian martial arts

text: As their ancient predecessors, swordplay and wrestling were commonly practiced by the royalty of Vijayanagara. Krishna Deva Raya is said to have arranged a duel between a champion swordsman and the prince of Odisha who was known for being an expert with both the sword and dagger. The prince accepted the challenge until he learned he would be fighting one not of royal blood and so killed himself rather than having to “soil his hands”. Fernao Nunes and the Persian envoy Adbur Razzak relate that Deva Raya II survived an assassination attempt “as he was a man who knew how to use both sword and dagger better than anyone in his kingdom, avoided by twists and turns of his body the thrusts aimed at him, freed himself from him, and slew him with a short sword that he had.”


title: Indian martial arts

text: After a series of victories, the Central Asian conqueror Babur established Mughal rule in north India during the 16th century. The Mughals were patrons of India's native arts, not only recruiting akhara-trained Rajput fighters for their armies but even practicing these systems themselves. The "Ausanasa Dhanurveda Sankalanam" dates to the late 16th century, compiled under the patronage of Akbar. The "Ain-i-Akbari" tells that the Mughal court had various kinds of fighting men from around the empire who would demonstrate their skills every day in exchange for rewards. Among them were said to be both native and Mughal wrestlers, slingers from Gujarat, Hindustani athletes, boxers, stone-throwers and many others.


title: Indian martial arts

text: “There are several kinds of gladiators, each performing astonishing feats. In fighting they show much speed and agility and blend courage and skill in squatting down and rising up again. Some of them use shields in fighting, others use cudgels. Others again use no means of defence, and fight with one hand only; these are called "ek-hath". Those who come from the eastern districts of Hindostan use a small shield called “"chirwah"”. Those from the southern provinces have shields of such magnitude as to cover a man and a horse. This kind of shield is called "tilwah". Another class use a shield somewhat less than the height of a man. Some again use a long sword, and seizing it with both hands they perform extraordinary feats of skill. There is another famous class called Bankúlis. They have no shield but make use of a peculiar kind of sword which, though curved towards the point, is straight near the handle. They wield it with great dexterity. The skill that they exhibit passes all description. Others are skillful in fighting with daggers and knives of various forms; of these there are upwards of a hundred thousand. Each class has a different name; they also differ in their performances. At court, there are a thousand gladiators always in readiness.”


title: Indian martial arts

text: Avid hunters, a popular sport among the Mughals was "shikar" or tiger-hunting. While often done with arrows and later even rifles, it was considered most impressive to kill a tiger with a hand-to-hand weapon such as a sword or dagger. A warrior who managed to best a tiger would be awarded the title of "Pachmar".


title: Indian martial arts

text: In the 16th century, Madhusudana Saraswati of Bengal organised a section of the Naga tradition of armed sannyasi in order to protect Hindus from the intolerant Mughal rulers. Although generally said to abide by the principle of non-violence ("ahimsā"), these Dashanami monks had long been forming akhara for the practice of both yoga and martial arts. Such warrior-ascetics have been recorded from 1500 to as late as the 18th century, although tradition attributes their creation to the 8th-century philosopher Sankaracharya. They began as a stratum of Rajput warriors who would gather after harvest and arm peasants into militarised units, effectively acting as a self-defense squad. Prevalent in Rajasthan, Maharashtra and Bengal, they would give up their occupations and leave their families to live as mercenaries. Naga sadhu today rarely practice any form of fighting other than wrestling, but still carry trishula, swords, canes and spears. To this day their retreats are called "chhauni" or armed camps, and they have been known to hold mock jousts among themselves. As recently as the 1950s, it was not unusual for Naga sadhu to strike to kill someone over issues of honour.


title: Indian martial arts

text: The pehlwani style of wrestling developed in the Mughal Empire by combining native malla-yuddha with influences from Persian "varzesh-e bastani".


title: Indian martial arts

text: Coming from a hilly region characterized by valleys and caves, the Marathas became expert horsemen who favoured light armour and highly mobile cavalry units during war. Known especially as masters of swords and spears, their heavily martial culture and propensity for the lance is mentioned as early as the 7th century by Xuanzang. After serving the Dakshin sultanates of the early 17th century, the scattered Marathas united to found their own kingdom under the warrior Shivaji. Having learned the native art of mardani khela from a young age, Shivaji was a master swordsman and proficient in the use of various weapons. He took advantage of his people's expertise in guerilla tactics ("Shiva sutra") to re-establish "Hindavi Swarajya" (native [Hindu being a term traditionally applied to the native inhabitants of India throughout antiquity] self-rule) at a time of Muslim supremacy and increasing intolerance. Utilizing speed, focused surprise attacks (typically at night and in rocky terrain), and the geography of Maharashtra, Karnataka, & South India; the Maratha rulers were successfully able to defend their territory from the more numerous and heavily armed Mughals. The still-existing Maratha Light Infantry is one of the “oldest and most renowned” regiments of the Indian Army, tracing its origins to 1768.


title: Indian martial arts

text: Paika is the Odia word for fighter or warrior. Their training schools, known as paika akhada, can be traced back to ancient Kalinga and their art was at one time patronised by King Kharavela. In March 1817, under the leadership of Bakshi Jagabandhu Bidyadhar Mohapatra, nearly 400 Khanda of Ghumusar in Ganjam marched towards Khordha in protest against British colonial rule. Many government buildings were burnt down and all the officials fled. The British commander of one detachment was killed during a battle at Gangapada. The paika managed to capture two bases at Puri and Pipli before spreading the rebellion further to Gop, Tiran, Kanika and Kujang. The revolt lasted a year and a half before being quelled by September 1818. Today the paika akhada are known mainly for their street performances during festivals.


title: Indian martial arts

text: Indian martial arts underwent a period of decline after the full establishment of British colonial rule in the 19th century. More European modes of organizing kings, armies and governmental institutions, and the increasing use of firearms, gradually eroded the need for traditional combat training associated with caste-specific duties. The British colonial government banned kalaripayat in 1804 in response to a series of revolts. Silambam was also banned and became more common in the Malay Peninsula than its native Tamil Nadu. Nevertheless, traditional fighting systems persisted, sometimes even under the patronage of enthusiastic British spectators who tended to remark on the violence of native boxing and the acrobatic movements characteristic of Indian fighting styles.


title: Indian martial arts

text: The British took advantage of communities with a heavily militaristic culture, characterising them as “martial races” and employing them in the armed forces. Sikhs – already known among Indians for their martial practices – were particularly valued by the colonists as soldiers and guards, and were posted throughout not only India but Southeast Asia and other parts of the British Empire. Members of the army were allowed to box as a way of settling disputes, provided that they were still able to carry out their duties as soldiers after a match. The particular form of boxing used by the Punjabi soldiers was "loh-musti", as the kara worn by Sikhs could be wielded like brass knuckles.


title: Indian martial arts

text: The resurgence of public interest in kalaripayat began in the 1920s in Tellicherry as part of a wave of rediscovery of the traditional arts throughout south India which characterised the growing reaction against British colonial rule. During the following three decades, other regional styles were subsequently revived such as silambam in Tamil Nadu, thang-ta in Manipur and paika akhada in Orissa.


title: Indian martial arts

text: One of the earliest extant manual of Indian martial arts is in the Agni Purana (dated to between the 8th and the 11th century), The dhanurveda section in the Agni Purana spans chapters 248–251, categorizing weapons into thrown and unthrown classes and further divided into several sub-classes. It catalogs training into five major divisions for different types of warriors, namely charioteers, elephant-riders, horsemen, infantry, and wrestlers.


title: Indian martial arts

text: The section concludes with listing the names of actions or “deeds” possible with a number of weapons, including 32 positions to be taken with sword and shield ("), 11 names of techniques of using a rope in fighting, along with 5 names of “acts in the rope operation” along with lists of “deeds” pertaining to the chakram (war-quoit), the spear, the "tomara" (iron club), the gada (mace), the axe, the hammer, the "bhindipāla" or "laguda", the vajra, the dagger, the slingshot, and finally deeds with a bludgeon or cudgel. A short passage near the end of the text returns to the larger concerns of warfare and explains the various uses of war elephants and men. The text concludes with a description of how to appropriately send the well-trained fighter off to war.


title: Indian martial arts

text: The Arthashastra, c. 4th century BCE, typically attributed to Chanakya chief advisor of Chandragupta Maurya is one of the earliest treatises on statecraft, including diverse topics such as economics, politics, diplomacy and military strategy.


title: Indian martial arts

text: There is an extant "Dhanurveda-Samhita" dating to the mid-14th century, by Brhat Sarngadhara Paddhati (ed. 1888).


title: Indian martial arts

text: A wide array of weapons are used in the Indian subcontinent, some of which are not found anywhere else. According to P.C. Chakravati in "The Art of War in Ancient India", armies used standard weapons such as wooden or metal-tipped spears, swords, thatched bamboo, wooden or metal shields, axes, short and longbows in warfare as early as the 4th century BC. Military accounts of the Gupta Empire (c. 240–480) and the later Agni Purana identify over 130 different weapons.


title: Indian martial arts

text: The "Agni Purana" divides weapons into thrown and unthrown classes. The thrown ("mukta") class includes twelve weapons altogether which come under four categories, viz.


title: Indian martial arts

text: The duel with bow and arrows is considered the noblest, fighting with the spear ranks next, while fighting with the sword is considered unrefined, and wrestling is classed as the meanest or worst form of fighting. Only a Brahmins could be an acharya (teacher) of sastravidya, Kshatriya and vaishya should learn from the Acharya, while a shudra could not take a teacher, left to “fight of his own in danger”.


title: Indian martial arts

text: Over time, weaponry evolved and India became famous for its flexible wootz steel. The most commonly taught weapons in the Indian martial arts today are types of swords, daggers, spears, staves, cudgels, and maces.


title: Indian martial arts

text: Weapons are linked to several superstitions and cultural beliefs in the Indian subcontinent. Drawing a weapon without reason is forbidden and considered by Hindus to be disrespectful to the goddess Chandika. Thus the saying that a sword cannot be sheathed until it has drawn blood. It was a mother's duty to tie a warrior's sword around his waist before war or a duel. In addition, she would cut her finger with the sword and make a tilak on his head from a drop of her blood. Weapons themselves were also anointed with tilak, most often from the blood of a freshly-decapitated goat ("chatanga"). Other taboos include looking at one's reflection in the blade, telling the price or source of acquisition, throwing it on the ground or using it for domestic purposes.


title: Indian martial arts

text: Nakula and Sahadeva are said to be skilled swordsmen in Mahabharata. Sword-fighting is one of the common Indian fighting arts. Varieties include the curved single-edge sword, the straight double-edge sword, the two-handed longsword, the gauntlet-sword, and the urumi or flexible sword. Techniques differ from one state to another but all make extensive use of circular movements, often circling the weapon around the user's head. The flexible nature and lightweight of Indian swords allows for speed but provides little defensive ability, so that the swordsman must instead rely on body maneuvers to dodge attacks. Entire systems exist focusing on drawing the sword out of the opponent's body. Stances and forms traditionally made up the early training before students progress to free sparring with sticks to simulate swords in an exercise called gatka, although this term is more often used in English when referring to the Panjabi-Sikh fighting style. A common way to practice precision-cutting is to slice cloves or lemons, eventually doing so while blindfolded. Pairing two swords of equal length, though considered impractical in some parts of the world, is common and was considered highly advantageous in the Indian subcontinent.


title: Indian martial arts

text: Stick-fighting (lathi khela) may be taught as part of a wider system like Gatka, silambam or on its own. In the "Kama Sutra" the sage Vātsyāyana enjoins all women to practice fighting with single-stick, quarterstaff, sword and bow and arrow in addition to the art of love-making. The stick ("lathi" in Prakrit) is typically made of bamboo with steel caps at the ends to prevent it from splintering. Wooden sticks made from Indian ebony may also be used. It ranges from the length of a cudgel to a staff equal to the wielder's height. The stick used during matches is covered in leather to cushion the impact. Points are awarded based on which part of the body is hit. Techniques differ from system to system, but northern styles tend to primarily use only one end of the staff for attacking while the other end is held with both hands.


title: Indian martial arts

text: Southern styles like also make use of this technique but will more often use both ends of the staff to strike. The latter is the more common method of attacking in the eastern states and Bangladesh, combined with squatting and frequent changes in height.


title: Indian martial arts

text: Yudhishthira is said to be a master in spearplay warfare in "Mahabharata", while Shalya was also noted to be an excellent warrior in the field of spearplay. Also according to Indian Hindu myths, Murugan, the son of Lord Shiva, is said to be skilled in spear-fighting, by holding his divine spear called Vel. The Indian spear is typically made of bamboo with a steel blade. It can be used in hand-to-hand combat or thrown when the fighters are farther apart. Despite primarily being a thrusting weapon, the wide spearhead also allows for many slashing techniques. By the 17th century, Rajput mercenaries in the Mughal army were using a type of spear which integrated a pointed spear butt and a club near the head, making it similar to a mace. On the other hand, the longer cavalry spear was made of wood, with red cloth attached near the blade to prevent the opponent's blood from dripping to the shaft. The Marathas were revered for their skill of wielding a ten-foot spear called "bothati" () from horseback. Bothati fighting is practiced with a ball-tipped lance, the end of which is covered in dye so that hits may easily be confirmed. In solo training, the spear is aimed at a pile of stones. From this was eventually developed the uniquely Indian "vita" which has a length of cord attached to the butt end of the weapon and tied around the spearman's wrist. Using this cord the spear can be pulled back after it has been thrown.


title: Indian martial arts

text: Archery is noted to be one of the noblest form of defense within Indian cultural heritage. As mentioned in Vedic literature, the bow and arrow is the most applauded weapon among Kshatriyas. Siddharta Gautama was a champion with the bow, while Rama, Arjuna, Karna, Bhishma, Drona and Ekalavya of the epics were all said to be peerless archers.


title: Indian martial arts

text: "Dhanurveda" is an ancient treatise on the science of archery. It describes the practices and uses of archery, the craft of bow and arrow making, training of the army, and enumerates the rules of engagement. The treatise also discusses martial arts in relation to the training of warriors, charioteers, cavalry, elephant warriors, infantry etc.


title: Indian martial arts

text: It was considered as a sin to shoot a warrior from the back and fight more than one warrior at a time.


title: Indian martial arts

text: The bow used in the Vedic period were called danush, and were described in detail in the Vedas. The curved shape of the bow is called vakra in the Artha Veda. The bowstring was called jya, and was strung only when needed. An arrow was called an iṣu, and a quiver was called an iṣudhi which was slung on the back. Archers wore a hastaghna, which was an arm guard or shield usually worn on the left forearm and was used to protect the wearer from friction caused by the bowstring.


title: Indian martial arts

text: A "dhanushkara" was a bowyer, or the profession of bow crafting and arrow making, and it had become a regular profession by the early Vedic period. Others called "jyakara" specialized in making bowstrings.


title: Indian martial arts

text: Composite bows made of horn, sinew, and wood were invented in the Asian Steppes and would have been an integral part of the armory of the Aryan people. As in other civilizations such as the Hittites and Persians, the use of composite bows coincides with chariot warfare. Additionally the smaller size was of the compound bow would have made it preferable on mounted warfare.


title: Indian martial arts

text: A type of Indian longbow was five to six feet long and fired a long cane arrow with metal or bone arrow heads. The Cretan chronicler Nearchus who accompanied Alexander the Great into India, had noted that the warriors would use a bamboo bow, which had to rest on the ground and steady with the feet to draw to its full length. The arrow fired from this bamboo bow could penetrate any armor used in antiquity. The Indian long bows were described as the height of their users by Arrian, and Deccan bows in 1518 as “long like those of England”.


title: Indian martial arts

text: Traditional archery is today practiced mainly in the far northern states of Ladakh and Arunachal. One sport which has persisted into the present day is "thoda" from Himachal Pradesh, in which a team of archers attempt to shoot blunt arrows at the legs of the opposing team.


title: Indian martial arts

text: Gada (mace) is the weapon of God Hanuman in Ramayana. Lord Vishnu also carries a gada named Kaumodaki in one of his four hands. In the Mahabharata epic, the fighters Bhima, Duryodhana, Jarasandha and Balarama were said to be masters of the gada. In the mace combat, Bhima wins the final battle against Duryodhana by hitting his inner thigh. Such an attack below the waist was said to be against the etiquette of mace duels, implying a degree of commonality to this type of fighting. It was and still is used as training equipment by wrestlers. The traditional gada (mace) was essentially a wooden or steel sphere mounted on a handle and with a single spike at the top. An alternative mace-head was the lotus-shaped "padam". According to the "Agni Purana", the gada can be handled in twenty different ways. Due to its weight, the gada is said to be best suited to fighters with a large build or great strength. The Mughal club or mace, known as a "gurj" or "gargaj", had a head consisting of 8–10 petal-shaped blades. Fitted with basket-hilt, a spherical pommel, and a spiked top, this type of club was designed for beating down armour-clad opponents. Alternatively, some gurj had a spiked top and a hand-guard.


title: Indian martial arts

text: Grappling arts ("malla-vidya"), practiced either as sport or fighting style, are found throughout the Indian subcontinent. True combat-wrestling is called malla-yuddha, while the term malakhra refers to wrestling for sport. Malla-yuddha was codified into four forms which progressed from purely sportive contests of strength to actual full-contact fights known as "yuddha". Due to the extreme violence, this final form is generally no longer practised. The second form, wherein the wrestlers attempt to lift each other off the ground for three seconds, persists in Karnataka. Traditional malla-yuddha is virtually extinct in the north where it has been supplanted by kusti, but another form called malakhra still exists in parts of India and Sindh, Pakistan. Vajra-musti was another old grappling art in which the competitors wrestled while wearing a horned knuckleduster. In a later style called "naki ka kusti" (claw wrestling), the duellists fought with bagh nakha. Numerous styles of folk wrestling are also found in India's countryside, such as mukna from Manipur, Inbuan wrestling from Mizoram and Khomlainai among the Bodos.


title: Indian martial arts

text: Pehlwani is a form of wrestling from the Indian subcontinent. It was developed in the Mughal Empire by combining native malla-yuddha with influences from Persian "varzesh-e bastani". One of the most famous practitioners of pehlwani was The Great Gama (Ghulam Mohammad Baksh Butt), who is considered one of the greatest wrestlers of all time.


title: Indian martial arts

text: Boxing (musti-yuddha) is traditionally considered the roughest form of Indian unarmed combat. In ancient times it was popular throughout northern Indian subcontinent, but is rarely practiced today. Boxers harden their fists by striking stones and other hard objects. Matches may be either one-on-one or group fights. All kinds of strikes and grabs are allowed, and any part of the body may be targeted except the groin. Another form of boxing was "loh-musti" (meaning “iron fist”), said to have been practiced by the God Krishna. In this variation, boxers fought while wielding a kara or steel bracelet like a knuckleduster. Grabs, kicks, biting and attacks to the groin were all legal, the only prohibition being spitting on the opponent which was considered crude and dishonourable. The kara used for regular matches was unadorned, but the form employed during war had one or more spikes around its edge. The kara may be paired with one on each hand, but it was generally only worn on one hand so the other hand could be left free. In some cases the free hand could be paired with another weapon, most commonly the bagh nakha.


title: Indian martial arts

text: Kick-fighting ("aki kiti") is the preserve of tribes from Nagaland. While the entire Naga population of northeast India and northwest Myanmar was traditionally known for their skill with broadswords ("dao") and other weapons, disputes among tribesmen and between tribes were settled with a solely kick-based form of unarmed fighting. The goal is to either drive the opponent to their knees or outside of the ring. Only the feet are used to strike, and even blocking must be done with the legs.


title: Indian martial arts

text: Many forms of unarmed combat ("bāhu-yuddha" or "bhuja-yuddha") incorporate too wide an array of techniques to be accurately categorized. In modern times when the carrying of weapons is no longer legal, teachers of the martial arts often emphasise the unarmed techniques as these are seen to be more practical for self-defense purposes. A warrior who fights unarmed is referred to as a "bhajanh", literally meaning someone who fights with their arms. The bare-handed components of Indian fighting arts are typically based on the movements of animals, Hindu deities. Binot, a Central Indian art which focuses on defending against both armed and unarmed opponents, maybe the earliest system of its kind. In the Mughal era, such fighters were known as "ek-hath" (lit. “one-hand”), so named because they would demonstrate their art using only one arm.


title: Indian martial arts

text: 64 different types of skills and arts existed in ancient India which lead to well-developed individuals boosting their mind, body, and intellect making them capable of performing their responsibilities efficiently and effectively on personal, social and national level. Today, unhealthy and irregular lifestyles, frustrations and rising competitions in every sphere of life are affecting the health of people, especially the youth. In such a scenario, one of the ancient Indian arts referred to as “Bal Vidya” can help not only to improve the physical health but also upscale the mental and intellectual well-being of a person. A strong mind and intellect is equally important along with a strong body. Shree Aniruddha Upasana Foundation (Mumbai, India) attempts to review these ancient Indian martial arts form and provides “Bal Vidya” training to both men and women free of charge. Art forms like Mudgal Vidya, Vajra Mushthi, Surya Bhedan, Ashwa and various types of Yashwanti Malla Vidya using various weapons like Laathi (iron-bound bamboo stick), Kaathi (Pole), Fari-Gadga, Dorkhand (rope)and Dandpatta (gauntlet-sword). A book detailing all these art forms with the title “Bhartiya Prachin Bal Vidya” (The Ancient Indian Bal Art) is also available for achieving proficiency through practice post attending training sessions.


title: Indian martial arts

text: As in other respects of Indian culture, Indian martial arts can be roughly divided into northern and southern styles. The northern systems (including Pakistan and Bangladesh) may generically be referred to as "shastra-vidiya", although this term is often used synonymously with gatka. The main difference is that the north was more exposed to Persianate influence during the Mughal period, while the south is more conservative in preserving ancient and medieval traditions. The exception to this rule are the northeastern states which, due to their geographic location, were closed off from most pre-European foreign invaders. As a result, northeast Indian culture and fighting methods are also closely related to that of Southeast Asia and Oceania. In addition to the major division between north and south, martial systems in the Indian subcontinent tend to be associated with certain states, cities, villages or ethnic groups.


title: Indian martial arts

text: Masters in Andhra Pradesh trace their lineage to the Vijayanagara empire, popular in Konaseema region. The native system of "Chedi Talimkhana" or "yudhkaushalya che talim" is often abbreviated to Talimkhana or simply Talim. The art makes use of several weapons which are used in preset forms. These include knife fighting ("baku samu"), sword fighting ("katti samu"), and staff fighting ("kara samu") in addition to other weapons such as the gada (mace) and pata (guantlet sword).


title: Indian martial arts

text: Bengali war-dances bear testament to the weapons once used in the Bengal region. Today most of these weapons are used only in choreographed fights, including "dao khela" (knife fighting) and "fala khela" (sword fighting). Traditional stick-fighting (lathi khela) is still used in free sparring today. The sticks may be short like a cudgel or a long staff. The former are sometimes paired with a shield.


title: Indian martial arts

text: “Pari-khanda” is a fighting form created by Rajputs and is still practised in many parts of Bihar. “Pari” means shield and “khanda” means sword according “Chhau” region, therefore this art uses sword and shield for fighting. This fighting form has given birth to a local dance form named “Chhau” dance and its martial elements have been fully absorbed by this dance. It is even practised in some parts of Jharkhand and Odisha. Chhau is the name of the traditional dance- drama of the eastern regions of India and is of three types. The three forms of “Chhau” are named after the district or village where they are performed, i.e. the Purulia Chau of Bengal, the Seraikella Chau of Bihar and the Mayurbhanj Chau of Orissa.


title: Indian martial arts

text: The Kannada fighting arts are taught exclusively at traditional training halls or "garadi mane". Disciplines include unarmed combat ("kai varase"), staff-fighting ("kolu varase") and sword-fighting ("katti varase") among various other weapons. These are most often seen today only during choreographed demonstrations at festivals.


title: Indian martial arts

text: Kashmiri swordsmanship is said to have an ancient history, but it was only much later that it acquired its modern name of sqay. Sqay survived a decline following the partition of India by adopting competitive methodologies of karate and taekwondo. Types of competition include sparring, breaking, and forms or "khawankay". Practitioners spar using fake swords called "tora" which are paired with a shield. Sparring is point-based, the points being awarded for successful hits with the tora or with the foot.


title: Indian martial arts

text: The Keralite martial of Kalaripayattu, came into its present form through the kalari, the local variation of the gurukula educational institution in Kerala. The most common weapons today are the staff, stick, sword, shield, spear, dagger and flexible sword, locally known as Urumi. Kerala is also home to a native form of submission wrestling called Gatta gusthi.


title: Indian martial arts

text: The Marathas developed their fighting style based on the state's hilly geography. Mardani khel today teaches armed techniques for use in single combat as well as defense against several opponents. Other weapons include the sword, shield, spear, dagger, kukri, double deer horns, and bow and arrow.


title: Indian martial arts

text: The Manipuri art of Huyen langlon was once practiced by the state's indigenous hill tribes who would engage in duels governed by strict rules of conduct. The armed component called thang-ta is named after the system's main weapons, the "thang" (sword) and "ta" (spear). Practitioners spar through "cheibi gatka" in which a foam sword is used together with a shield. Unarmed huyen lalong is called "sarit-sarak" and is used in conjunction with thang-ta when the fighter loses their weapon.


title: Indian martial arts

text: Aki Kiti is a semi-contact combat sport characterized by kicking and blocking solely using the soles of the feet. The word Aki Kiti means "kick fighting".


title: Indian martial arts

text: The Odishan martial art traces back to the "paika" class of warriors who were particularly known for their use of the "khanda" or double-edge straight sword. During times of peace, the paika would hone their skills through martial dances, forms-training and various acrobatics. Their descendants have preserved these exercises in training halls called paika akhada, and demonstrate them mainly through street performances. Their method of sword training called "phari-khanda" is still used as the first part of the chhau dance. Other weapons include the staff and guantlet-sword.


title: Indian martial arts

text: Martial arts in northwest India and adjacent Pakistan were traditionally referred to by several terms but the most common today is "shastar-vidiya" or “science of edged weapons”. Swordsmen practiced their techniques either in routines using real swords, or freestyle sparring with wooden sticks called gatka, a form of stick-fighting. Gatka is associated with the Sikh history and an integral part of an array of Rajput Shastar Vidiya. During the colonial period, the term "gatka" was extended to mean northwestern martial arts in general. Some aspects of the art, such as the unarmed techniques or fighting in armour, are today practiced almost exclusively by the Nihang order of Sikhs. Gatka incorporates several forms, each with their own set of weapons, strategies and footwork. In the late 18th century, this martial art further developed as a recreational game and University Lahore codified its rules for playing it as a game.


title: Indian martial arts

text: The native Tamil martial art has come to be referred to as silambam after its main weapon, the bamboo staff. Training begins with footwork patterns before progressing to stances and subsequently fighting techniques. Aside from its namesake, silambam includes a variety of weapons such as the sword, twin sticks, double deer horns, whip, sword, shield and sword, dagger, flexible sword and sickle. Unarmed silambam ("kai silambam") is based on animal movements such as the snake, eagle, tiger and elephant. Other Martial Arts of Tamil Nadu are Varma Kalai, Adi Thadi, Malyutham, Valariveechu, Vaalveechu, Gusthi (Boxing form of Tamil Nadu, not to be confused with North Indian Kushti which is a Wrestling art). There are 64 various kind of arts mentioned in Tamil sangam literature and they are normally called as aayakalaigal 64 but most of them are now extinct and not in use nowadays.


title: Indian martial arts

text: With expansion of Indosphere cultural influence of Greater India, through transmission of Hinduism in Southeast Asia and the Silk Road transmission of Buddhism leading to Indianization of Southeast Asia through formation of non-Indian southeast Asian native Indianized kingdoms which adopted sanskritized language and other Indian elements such as the honorific titles, Sanskritised naming of people, Sanskritised naming of places, Sankritised institutional mottos, Sanskritised educational institute names, as well as adoption of Indian martial arts, Indian architecture, Indian music and dance, traditional Indian clothing, and Indian cuisine, a process which has also been aided by the ongoing historic expansion of Indian diaspora. The martial arts influenced by the Indian martial arts include Angampora, Ankam, Bokator, Eskrima, Krabi krabong, Kbachkun Dambong-Veng, Khmer traditional wrestling, Pencak Silat, Thaing (Burmese), etc.


title: Rockstar (Post Malone song)

text: "Rockstar" (stylized in all lowercase) is a song by American rapper and singer Post Malone featuring Atlanta-based rapper 21 Savage. It was released on September 15, 2017, by Republic Records as the lead single from Malone's second studio album "Beerbongs & Bentleys" (2018). The artists wrote the song with producers Louis Bell and Tank God.


title: Rockstar (Post Malone song)

text: Despite receiving mixed reviews by music critics, the track became Malone's most successful hit single to date, reaching number one on the US "Billboard" Hot 100, and reached the top spot in several other countries, including Australia, Canada, Greece, Portugal, Romania, Ireland, New Zealand, Sweden, Norway, Finland, Denmark and the United Kingdom. It became both Post Malone and 21 Savage's first number-one single in all the countries mentioned. The song was nominated for Record of the Year and Best Rap/Sung Performance at the 61st Annual Grammy Awards.


title: Rockstar (Post Malone song)

text: Post Malone posted a snippet of himself playing the track in the studio via Twitter on December 24, 2016.


title: Rockstar (Post Malone song)

text: The unofficial YouTube video for the track's audio, released by Republic Records, is a three-minute-and-38-second loop of solely the song's chorus. Therefore, the song was able to receive equivalent downloads without featuring the entirety of the song, which some attributed to its number-one spot on the Hot 100. Some called it a "clever marketing scheme", while others believed it was a trick or a loophole.


title: Rockstar (Post Malone song)

text: The official music video, directed by Emil Nava, was released on Post Malone's Vevo YouTube channel on November 21, 2017. The video features Post Malone in a room fighting against a gang of men with samurai swords, and ends with Post Malone and 21 Savage covered in blood. "Pitchfork" noted that the video references the Japanese action film "Lady Snowblood". On June 23, 2022 after nearly 5 years on YouTube, the video hit 1 billion views.


title: Rockstar (Post Malone song)

text: The song reached number one on the US "Billboard" Hot 100, becoming Post Malone and 21 Savage's first number-one song. It debuted at number two behind Cardi B's "Bodak Yellow", breaking the single week streaming record on Apple Music with over 25 million streams becoming Post Malone's third top 20 hit, following his debut single, "White Iverson" and his top 10 hit "Congratulations". It stayed behind "Bodak Yellow" for three consecutive weeks before reaching the top spot in its fourth week. "Rockstar" topped the Hot 100 for eight weeks, the longest run at number one for a hip hop song in 2017. After its eighth week at number one, it was knocked off by "Perfect" by Ed Sheeran and Beyoncé. The single has sold over 10,000,000 copies, being certified Diamond in the US.


title: Rockstar (Post Malone song)

text: In New Zealand, it debuted at number 4, then moved to the top spot the following week, staying at the summit for 8 weeks. It prevented "Havana", from Camila Cabello reaching number 1, peaking at number 2 for 5 consecutive weeks. In Australia, it topped the ARIA Singles Chart for seven weeks In the United Kingdom, the song debuted at number five on September 22, 2017. The following week, it rose three places to number two, behind Sam Smith's "Too Good at Goodbyes", before reaching the top on October 6.


title: Rockstar (Post Malone song)

text: In September 2020, "Rockstar" became the second song ever, after Ed Sheeran's "Shape of You", to surpass 2 billion streams on the audio platform Spotify.


title: Rockstar (Post Malone song)

text: "Rockstar" received mixed reviews from music critics. "Spin.com" reviewed the song's unofficial video by stating: "The chorus loop may be a weirdly hypnotic, post-Vine marketing gimmick, but it seems like it worked. "rockstar" is both Post Malone's and 21 Savage's first-ever No. 1 single, meaning this probably won't be the last time an artist attempts to boost a track by distilling its catchiest section into a standalone product. Maybe, in the future, we'll all listen to seconds-long hooks on endless extended loops." "Spin" and "Time" both named the song one of the worst of 2017.


title: Rockstar (Post Malone song)

text: On November 29, 2017, an unofficial Crankdat remix of the song was released on the Trap Nation channel on YouTube. On December 13, 2017, a Latin remix of the song featuring Dominican-Puerto Rican reggaeton artists Nicky Jam and Ozuna was released. Another remix was released on December 22, 2017, featuring new verses from rappers Jadakiss and Nino Man. On December 25, 2017, Lil Wayne released his remix of the song, titled "5 Star" and featuring Nicki Minaj, as a single from his mixtape "Dedication 6". On January 23, 2018, American rapper Fetty Wap released his remix of the song.


title: Rory Delap

text: Rory John Delap (born 6 July 1976) is a former professional footballer who played as a midfielder. Born in England, he made 11 appearances for the Republic of Ireland national team.


title: Rory Delap

text: Delap started his career at Carlisle United and impressed enough to earn a move to Premiership side Derby County in 1998. In 2001, Delap joined Southampton for a club record of £4 million. After spending five years on the south coast, he moved to Sunderland. Following a brief spell on Wearside, Delap was loaned to Stoke City in October 2006. In just his second match for Stoke, against his parent club Sunderland, Delap suffered a broken leg. Despite this, Delap signed a permanent contract for Stoke in January 2007. He went on to become a vital member of the squad and his long throw-ins helped Stoke gain promotion to the Premier League and consolidate in the league. After spending six seasons at Stoke, Delap had short spells with Barnsley and Burton Albion before retiring in December 2013.


title: Rory Delap

text: A midfielder by trade, he was renowned for his long throw-in ability. Between the touchlines, he was famed for his fitness and work rate, which gave him a valuable role in breaking up opposition play. Delap was a talented javelin thrower in his youth, and was touted to represent Ireland in the Olympics after his throw-ins shot to prominence following Stoke's promotion to the Premier League.


title: Rory Delap

text: After finishing his playing career, Delap returned to his former club Derby County where he began his coaching career. After coaching the club's under-18 team, he replaced Darren Wassall as the under-21 head coach in February 2016, winning the U21 Premier League 1 Division 2 title in his first season in charge.


title: Rory Delap

text: He was one of several promising players who came through the ranks at Brunton Park during the mid-1990s, alongside Matt Jansen, Scott Dobie and Lee Peacock. In 1997, he was part of the side which gained promotion to Division Two and defeated Colchester United on penalties to win the Football League Trophy at Wembley Stadium.


title: Rory Delap

text: Delap was signed by Derby County manager Jim Smith for £200,000 in February 1998, and went on to make 13 appearances during the remainder of the 1997–98 season. Despite failing to score a league goal during the 1998–99 season, he did manage to find the net in a second round League Cup tie with Manchester City. During the 1999–00 season he was Derby's top scorer with eight goals. His first goal of the campaign came during a 2–1 defeat to Arsenal. After scoring his second goal of the season in a 2–0 victory over Sheffield Wednesday, his third came during a 3–3 stalemate with his future club Southampton. A 3–1 home victory over Chelsea saw Delap score two goals and increase his tally to five, while it was just two games later when he scored against eventual champions Manchester United in a 2–1 loss at Pride Park. Later that season, Delap scored and assisted a goal in a 3–0 win over Leicester City - a game in which Stan Collymore broke his leg. His eighth and final goal of the campaign came after just 22 seconds of a 4–4 draw with Bradford City, although he was later sent off for conceding one of four penalties. During the 2000–01 season, Delap once again scored against both Leicester and Bradford. He scored his final goal for Derby in a 1–0 victory over Ipswich Town on 2 December 2000, which brought his total league tally to 11.