title: Grand Union Canal

text: At the north-west end of the summit level is Bulbourne Works, where lock gates were manufactured until 2003 for the southern canal network. Half a mile (800 m) further on, the canal reaches the top of the Marsworth flight of seven locks, which begin the descent to the Vale of Aylesbury. A Wendover Arm branches off westwards from the summit level under a bridge adjacent to Marsworth Top Lock and is currently navigable for just over a mile to moorings and a winding hole; it has restoration project to extend it back to Wendover. This part of the canal in parlance used by natives and canal staff was "the withered arm" and in fact was only really "opened" to allow the pumping station there to pump water into the uppermost level. A few hundred metres beyond the bottom lock of the flight, the Aylesbury Arm branches off to the south west.


title: Grand Union Canal

text: The Grand Union crosses the wide valley gradually, descending by interspersed locks past the villages of Cheddington, Horton and Slapton until it reaches Leighton Buzzard. Traditionally this section of the canal is called "Slapton Fields" or just "The Fields" by boaters.


title: Grand Union Canal

text: A few miles further on it enters Milton Keynes at the outskirts of Bletchley at Fenny Stratford Lock, which is unusual in lowering the level by only . The next stretch of is on the level. There is a modern proposal to dig a new arm from here to the Great Ouse at Bedford. North of the centre, it traverses the modern New Bradwell Aqueduct, the first on the Grand Union in over 100 years. Leaving Milton Keynes at Wolverton, the canal runs on a high embankment before passing over the Great Ouse at Cosgrove "Iron Trunk" aqueduct.


title: Grand Union Canal

text: After rising through Cosgrove Lock, (and passing the start of the abandoned Buckingham Arm) another long level section brings the canal to the bottom of the Stoke Bruerne flight of seven locks. At the top of this flight is the Stoke Bruerne Canal Museum followed shortly by Blisworth Tunnel, at one of the longest of UK canals.


title: Grand Union Canal

text: Once clear of the tunnel, the canal passes Blisworth village and reaches Gayton Junction where the Northampton Arm branches off to the east. This arm has 17 narrow locks as it descends to join the navigable River Nene (see below). The long level stretch continues past several villages including Nether Heyford and Weedon Bec and is very rural in character.


title: Grand Union Canal

text: At Whilton, the canal reaches the bottom of the Buckby flight of seven locks which raise it to Braunston summit the village of which parish is away. Beyond the top lock is Norton Junction where the Leicester line (not strictly a branch) heads off north. A few miles further on the canal passes through the 2040-yard (1865-m) Braunston Tunnel, which pierces a low range of hills that are part of the Northamptonshire uplands.


title: Grand Union Canal

text: The canal then drops down the Braunston flight of six locks until it reaches Braunston Junction having covered just over .


title: Grand Union Canal

text: At Braunston Junction, the Oxford Canal diverges north and south. The north section leads to Rugby and Coventry; the southward fork carries both the Oxford Canal and the Grand Union for to Napton Junction. Here, the Grand Union heads north towards Birmingham, while the Oxford Canal veers south towards Banbury and Oxford.


title: Grand Union Canal

text: Shortly after Napton Junction, the Grand Union reaches three locks at Calcutt, which begin the descent to the Warwickshire River Avon. After a 3-mile (5-km) level, the canal descends into the valley of the River Leam by the Stockton flight of 10 locks (often known as 'the Itchington Ten'). Above the eighth lock down the flight, a short arm (now used as pleasure craft moorings) used to serve Southam cement works. This was where the last regular cargo of cement was loaded heading for Birmingham in the late 1960s.


title: Grand Union Canal

text: From the bottom of the locks, a 3-mile (5-km) level leads to the four Bascote locks. The top two form a 'riser' or staircase. Six more interspersed locks lead to Radford, after which a 5-mile (8-km) level takes the canal through Leamington Spa to Warwick. Between these two towns, the canal crosses the River Avon and the former Great Western Railway on aqueducts.


title: Grand Union Canal

text: At Warwick, the canal rises by two locks to Budbrooke Junction (formerly the junction with the then-independent Warwick and Birmingham Canal). To the left is the restored Saltisford Canal Arm, a short stretch that used to run under the railway to the original canal basin complex and terminus of the Warwick and Birmingham Canal – the basin was filled-in in the 1970s. The canal used to serve the oldest gas works in the world and several unusual hexagonal buildings remain opposite Sainsbury's. After half a mile the mainline reaches the bottom of the Hatton flight of 21 locks that lift the canal up out of the Avon Valley. The first 10 locks are spaced out but from the middle lock the flight is tightly spaced.


title: Grand Union Canal

text: Three miles (5 km) from Hatton Top Lock the canal passes through Shrewley Tunnel, with its separate horse tunnel, and then passes Rowington village to Kingswood Junction where a short spur connects with the Stratford-upon-Avon Canal. Another lead to the Knowle flight of five locks. Finally, an 11-mile (18-km) level takes the canal through Elmdon Heath, Solihull, Acocks Green and Tyseley to the heart of Birmingham.


title: Grand Union Canal

text: The main line may be considered to terminate at Bordesley Junction. From here, there are two routes, both part of the Grand Union Canal. The original line of the Warwick and Birmingham Canal leads to the Digbeth Branch Canal of the Birmingham Canal Navigations at the Warwick Bar, while the later line of the Birmingham and Warwick Junction Canal leads to the Birmingham and Fazeley Canal (and Tame Valley Canal) at Salford Junction, which in turn has connections to the Coventry Canal and the Trent and Mersey Canal.


title: Grand Union Canal

text: Formed by amalgamations of once-independent canals, the 'Leicester Line' of the Grand Union Canal runs north from Norton Junction for about until it reaches Leicester, where it joins the River Soar to provide a link to the River Trent and to the Trent and Mersey Canal. It includes tunnels south of Crick and north of Husbands Bosworth The village of Crick is home to a popular annual boat show.


title: Grand Union Canal

text: The stretch of the canal that passes through the centre of Leicester is known as the 'Mile Straight' and is home to Leicester Rowing Club, a rowing and sculling club. The club hosts regattas on a stretch co-running with the Soar, typically held in mid-April by over 100 crews over a course.


title: Grand Union Canal

text: Also on this section are the Foxton Locks and Watford Locks, both staircase locks. Beside Foxton locks is the site of a long-abandoned inclined plane boat lift. This was constructed as part of a project to create a wide-beam canal route to connect the northern and southern parts of the canal system, something which does not exist to this day. Funding to deal with the narrow locks at Watford was not forthcoming and the scheme was aborted. The canal north of Foxton Junction is wide-beam to Leicester and onwards. It was originally intended to build a canal at this width all the way to the River Nene at Northampton. However, that canal never went further than the basin at Market Harborough.


title: Grand Union Canal

text: The Leicester Line continues along the River Soar Navigation, and reaches the River Trent at Soar Mouth, north of Ratcliffe-on-Soar. It is possible to continue to the Trent and Mersey Canal, Coventry Canal and North Oxford Canal, to complete a circuit known as the Leicester Ring.


title: Grand Union Canal

text: Five miles (eight km) from Brentford, the Paddington Arm runs circuitously on the flat to a junction with the Regent's Canal, the latter running north and east of Central London. The triangular canal basin formed by the junction is called the Little Venice in Maida Vale. The Arm's final 500 m runs south-east to Paddington Basin.


title: Grand Union Canal

text: From Marsworth, about by canal from Brentford, two arms diverge: one to Wendover (currently in-part navigable as being restored by the Wendover Arm Trust;) the other descends through 16 narrow locks for to Aylesbury.


title: Grand Union Canal

text: At Warwick the northernmost branch off of the Grand Union Canal (also known by regular users as the "GU"), the Saltisford Canal Arm begins. The restored arm is close to the centre of Warwick. It was originally the main line of the Warwick and Birmingham Canal, 1799, leading to the terminus and a basin with wharfs for timber. When the Warwick and Napton Canal opened, this bypassed channel remained as the town's wharf. The Saltisford Canal Trust have restored most of the surviving canal, 1990–2015, such as installing long lengths of sheet piling and restoring a warehouse in 2007. Its last were lost in the 1970s saving a disused road bridge that stands isolated in a car park. Warwick's narrowboat moorings are on the Arm by a public park partly in view of the Castle. Over 800 visiting narrowboats cruise to Warwick each year and moor on the arm.


title: Grand Union Canal

text: The Bedford and Milton Keynes Partnership (B&MK) plans to build a canal connecting the Grand Union at Milton Keynes to the River Great Ouse at Bedford at an estimated cost of £170 million. The project is supported by British Waterways (and its successor, the Canal & River Trust), the Bedford & Milton Keynes Waterway Trust, other waterways campaign groups, and also local councils. The first element of the canal is an underpass under the A421, completed in 2009 and efforts are continuing to obtain funding to complete the scheme in 'bite-size chunks'. The new waterway would create a new cruising ring connecting through from the Grand Union to the waterways of East Anglia which are beneficial to leisure cruising as boat hirers are able to take circular routes. The project was first discussed in 1810 when its promoters included Samuel Whitbread.


title: Grand Union Canal

text: From Milton Keynes, the canal is planned to pass beneath the M1 utilising an existing cattle creep, then cross over Brogborough Hill, and across the Marston Vale through to the River Great Ouse in Kempston.


title: Grand Union Canal

text: The Buckingham Arm once ran from Cosgrove, Northamptonshire to Buckingham. It was built as an arm of the Grand Junction Canal, in two separate phases, opening in 1800 and 1801. It was disused from 1932, but was not finally abandoned until 1964. It is now the subject of a restoration project.


title: Grand Union Canal

text: The predecessor to the Canal and River Trust, British Waterways, received mild financial support indications from the two local authorities covering Slough and Eton, Berkshire to extend the Slough Arm to join the Thames, via any course i.e. covering a minimum ; the 2008-estimated cost was £30 million. The trust confirmed in 2012 this remains a long-term objective, to be actioned when the economic conditions allow.


title: W76

text: The W76 is an American thermonuclear warhead, designed for use on the UGM-96 Trident I submarine-launched ballistic missiles (SLBMs) and subsequently moved to the UGM-133 Trident II as Trident I was phased out of service. The first variant, the W76 mod 0 (W76-0) was manufactured from 1978 to 1987, and was gradually replaced by the W76 mod 1 (W76-1) between 2008 and 2018, completely replacing the Mod 0 in the active stockpile. In 2018 it was announced that some Mod 1 warheads would be converted to a new low-yield W76 mod 2 (W76-2) version. The first Mod 2 warheads were deployed in late 2019.


title: W76

text: The warhead was initially manufactured from 1978 to 1987 and designed by Los Alamos National Laboratory. It was initially fitted to the Trident I SLBM system, but after the Rocky Flats plant where its successor the W88 was being made was shut down in 1989 after a production run of only 400 warheads, it was decided to transfer W76 warheads to Trident II.


title: W76

text: A life extension program (LEP) for 800 warheads was approved by the US government in 2000, then later increased to 2,000. The purpose of the LEP was to extend service life by 20 years and add new safety features. Production on the W76-1 started in September 2008 and the National Nuclear Security Administration completed updating all W76-0 warheads to the W76-1 design in December 2018.


title: W76

text: The 2018 Nuclear Posture Review announced that a new variant, the W76-2, would be manufactured. The W76-2 variant is described as a low-yield warhead, estimated at about 5-7 kilotons of TNT equivalent. The National Nuclear Security Administration announced that it had started to manufacture the W76-2 in January 2019. Initial operating capability was expected in the final quarter of 2019, and manufacturing is expected to last through FY2024 at the Pantex Plant. According to FAS, the W76-2 warhead was first deployed with during its late 2019 operational patrol. The US Department of Defense confirmed in February 2020 that W76-2 had been 'fielded'.


title: W76

text: The warhead is currently the most numerous weapon in the US nuclear arsenal, having replaced the 50 kt W68 that was fitted to the Poseidon SLBM in that capacity.


title: W76

text: The United Kingdom operates a nuclear weapon based on the W76 mod-1 design under the name “Holbrook”.


title: W76

text: The W76-0 had a design yield of 100 kt while its replacement the W76-1 has a yield of 90 kt. The W76-2 has an estimated yield of 5 to 7 kt.


title: W76

text: The W76-0 was fitted inside a Mk4 reentry vehicle (reentry "body" in US Navy parlance) while the W76-1 and -2 are fitted inside the new Mk4A reentry vehicle. Reentry vehicle and warhead weight is estimated to be approximately .<ref name="W88/W76 weight"></ref>


title: W76

text: During the W76-1 LEP, the warhead was fitted with a new MC4700 arming, fuzing and firing (AF&F) system. The MC4700 AF&F system increases warhead kill probabilities against hard targets such as silos and bunkers. It achieves this by first calculating the range to the target outside of the atmosphere (i.e. before the atmosphere can alter the warhead's trajectory) and then continuously calculates its position on a line based on acceleration. If the contact fuze is actuated (such as falling short or striking on target) the warhead detonates, but if the fuze calculates it has overshot the target it detonates the warhead before it can leave the kill radius of the target (the kill radius is a sphere, not a circle). In comparison, a warhead without such a smart fuze would when overshooting a target, continue flying, leaving kill radius where detonating would destroy the target, and impact the ground which would actuate the impact fuze and detonate the warhead, outside the kill radius.


title: Emily Carr

text: Emily Carr (or M. Emily Carr as she sometimes signed her work) (December 13, 1871 – March 2, 1945) was a Canadian artist and writer who was inspired by the Indigenous peoples of the Pacific Northwest Coast. One of the painters in Canada to adopt a Modernist and Post-Impressionist style, Carr did not receive widespread recognition for her work, "The Indian Church" is now her best known, until she changed her subject matter from Aboriginal themes to landscapes — forest scenes in particular, evoking primeval grandeur. As a writer Carr was one of the earliest chroniclers of life in British Columbia. "The Canadian Encyclopedia" describes her as a Canadian icon.


title: Emily Carr

text: Born in Victoria, British Columbia, in 1871, the year British Columbia joined Canada, Emily Carr was the second-youngest of nine children born to English parents Richard and Emily (Saunders) Carr. The Carr home was on Birdcage Walk (now Government Street), in the James Bay district of Victoria, a short distance from the legislative buildings (nicknamed the 'Birdcages') and the town itself.


title: Emily Carr

text: The Carr children were raised on English tradition. Her father believed it was sensible to live on Vancouver Island, a colony of Great Britain, where he could practice English customs and continue his British citizenship. The family home was made up in lavish English fashion, with high ceilings, ornate moldings, and a parlor. Carr was taught in the Presbyterian tradition, with Sunday morning prayers and evening Bible readings. Her father called on one child per week to recite the sermon, and Emily consistently had trouble reciting it.


title: Emily Carr

text: Carr's mother died in 1886, and her father died in 1888. Her oldest sister Edith Carr became the guardian of the rest of the children.


title: Emily Carr

text: Carr's father encouraged her artistic inclinations, but it was only in 1890, after her parents' deaths, that Carr pursued her art seriously. She studied at the San Francisco Art Institute for two years (1890–92) before returning to Victoria. In 1899 Carr traveled to London, where she studied at the Westminster School of Art. Carr also visited the Nootka Indian mission at Ucluelet on the west coast of Vancouver Island in 1898. She traveled also to a rural art colony in St Ives, Cornwall, returning to British Columbia in 1905. Carr took a teaching position in Vancouver at the 'Ladies Art Club' that she held for no longer than a month – she was unpopular amongst her students due to her rude behavior of smoking and cursing at them in class, and the students began to boycott her courses.


title: Emily Carr

text: In 1898, at age 27, Carr made the first of several sketching and painting trips to Aboriginal villages. She stayed in a village near Ucluelet on the west coast of Vancouver Island, home to the Nuu-chah-nulth people, then commonly known to English-speaking people as 'Nootka'. Carr recalled that her time in Ucluelet made "a lasting impression on me". Her interest in Indigenous life was reinforced by a trip to Alaska nine years later with her sister Alice. In 1912, Carr took a sketching trip to First Nations' villages in Haida Gwaii, the Upper Skeena River, and Alert Bay. Even though Carr left the villages of the Pacific Northwest, the impact of the people stayed with her. Carr adopted the Indigenous name "Klee Wyck" and she also chose it as the title of one of her works of writings.


title: Emily Carr

text: In 1913, Carr held a large exhibition of her work of First Nations villages and poles in their original setting. Her "Lecture on Totems" at Dominion Hall in Vancouver is in the Emily Carr Papers at the BC Archives in Victoria. In the lecture, she said "every pole shown in my collection has been studied from its own actual reality..."


title: Emily Carr

text: Determined to further her knowledge of the age's evolving artistic trends, in 1910 Carr returned to Europe to study at the Académie Colarossi in Paris. In Montparnasse with her sister Alice, Emily Carr met modernist painter Harry Gibb with a letter of introduction. Upon viewing his work, she and her sister were shocked and intrigued by his use of distortion and vibrant colour; she wrote: "Mr Gibb's landscapes and still life delighted me — brilliant, luscious, clean. Against the distortion of his nudes I felt revolt." Carr's study with Gibb and his techniques shaped and influenced her style of painting, and she adopted a vibrant colour palette rather than continuing with the pastel colours of her earlier British training.


title: Emily Carr

text: In March 1912 Carr opened a studio at 1465 West Broadway in Vancouver. When locals failed to support her radical new style, bold colour palette and lack of detail, she closed the studio and returned to Victoria.


title: Emily Carr

text: In the summer of 1912, Carr again traveled north, to Haida Gwaii and the Skeena River, where she documented the art of the Haida, Gitxsan and Tsimshian. At Cumshewa, a Haida village on Moresby Island, she wrote:


title: Emily Carr

text: Carr painted a carved raven, which she later developed as her iconic painting "Big Raven". "Tanoo", another painting inspired by work gathered on this trip, depicts three totems before house fronts at the village of the same name. On her return to the south, Carr organized an exhibit of some of this work. She gave a detailed lecture about the Aboriginal villages that she had visited, which ended with her mission statement:


title: Emily Carr

text: While there was some positive reaction to her work, even in the new 'French' style, Carr perceived that Vancouver's reaction to her work and new style was not positive enough to support her career. She recounted as much in her book "Growing Pains". She was determined to give up teaching and working in Vancouver, and in 1913 she returned to Victoria, where several of her sisters still lived.


title: Emily Carr

text: During the next 15 years, Carr did little painting. She ran a boarding house known as the 'House of All Sorts'. It was the namesake and provided source material for her later book. With her financial circumstances straitened and her life in Victoria circumscribed, Carr painted a few works in this period drawn from local scenes: the cliffs at Dallas Road, the trees in Beacon Hill Park. Her own assessment of the period was that she had ceased to paint, which was not strictly true, although "[a]rt had ceased to be the primary drive of her life."


title: Emily Carr

text: Over time Carr's work came to the attention of several influential and supportive people, including Marius Barbeau, a prominent ethnologist at the National Museum in Ottawa. Barbeau in turn persuaded Eric Brown, Director of Canada's National Gallery, to visit Carr in 1927. Brown invited Carr to exhibit her work at the National Gallery as part of an exhibition on West Coast Aboriginal art. Carr sent 26 oil paintings east, along with samples of her pottery and rugs with Indigenous designs. The exhibit, which also included works by Edwin Holgate and A.Y. Jackson, traveled to Toronto and Montreal.


title: Emily Carr

text: Carr continued to travel throughout the late 1920s and 1930s away from Victoria. Her last trip north was in the summer of 1928, when she visited the Nass and Skeena rivers, as well as Haida Gwaii, formerly known as the Queen Charlotte Islands. She also travelled to Friendly Cove and the northeast coast of Vancouver Island, and then to Lillooet in 1933. Recognition of her work grew steadily, and her work was exhibited in London, Paris, Washington, DC, and Amsterdam, as well as major Canadian cities. Carr held her first solo show in eastern Canada in 1935 at the Women's Art Association of Canada gallery in Toronto.


title: Emily Carr

text: It was at the exhibition on West Coast Aboriginal art at the National Gallery in 1927 that Carr first met members of the Group of Seven, at that time Canada's most recognized modern painters. Lawren Harris of the Group became a particularly important support: "You are one of us," he told Carr, welcoming her into the ranks of Canada's leading modernists. The encounter ended the artistic isolation of Carr's previous 15 years, leading to one of her most prolific periods, and the creation of many of her most notable works. Through her extensive correspondence with Harris, Carr also became aware of and studied Northern European symbolism.


title: Emily Carr

text: Carr's artistic direction was influenced by the Group, and by Lawren Harris in particular, not only by his work, but also by his belief in Theosophy. Carr struggled to reconcile this with her own conception of God. Carr's "distrust for institutional religion" pervades much of her art. She became influenced by Theosophic thought, like many artists of the time, and began to form a new vision of God as nature. She led a spiritual way of life, rejecting the Church and the religious institution. She painted raw landscapes found in the Canadian wilderness, mystically animated by a greater spirit.


title: Emily Carr

text: In 1924 and 1925, Carr exhibited at the Artists of the Pacific Northwest shows in Seattle, Washington. Fellow exhibitor Mark Tobey came to visit her in Victoria in the autumn of 1928 to teach an advanced course in her studio. Working with Tobey, Carr furthered her understanding of modern art, experimenting with Tobey's methods of full-on abstraction and Cubism, but she was reluctant to follow Tobey beyond the legacy of Cubism.


title: Emily Carr

text: Although Carr expressed reluctance about abstraction, the Vancouver Art Gallery, a major curator of Carr's work, records Carr in this period as abandoning the documentary impulse and starting to concentrate instead on capturing the emotional and mythological content embedded in the totemic carvings. She jettisoned her painterly and practiced Post-Impressionist style in favour of creating highly stylized and abstracted geometric forms.


title: Emily Carr

text: Carr suffered a heart attack in 1937, and another in 1939, forcing her to move in with her sister Alice to recover. In 1940 Carr suffered a serious stroke, and in 1942 she had another heart attack. With her ability to travel curtailed, Carr's focus shifted from her painting to her writing. The editorial assistance of Carr's friend Ira Dilworth, a professor of English, enabled Carr to see her own first book, "Klee Wyck", published in 1941. Carr was awarded the Governor-General's Award for non-fiction the same year for the work.


title: Emily Carr

text: Paintings from Carr's last decade reveal her growing anxiety about the environmental impact of industry on British Columbia's landscape. Her work from this time reflected her growing concern over industrial logging, its ecological effects and its encroachment on the lives of Indigenous people. In her painting "Odds and Ends", from 1939 "the cleared land and tree stumps shift the focus from the majestic forestscapes that lured European and American tourists to the West Coast to reveal instead the impact of deforestation."


title: Emily Carr

text: Emily Carr suffered her last heart attack and died on March 2, 1945, at the James Bay Inn in her hometown of Victoria, British Columbia, shortly before she was to have been awarded an honorary doctorate by the University of British Columbia. Carr is buried at Ross Bay Cemetery.


title: Emily Carr

text: Carr is remembered primarily for her painting. She was one of the first artists to attempt to capture the spirit of Canada in a modern style. Carr's main themes in her mature work were natives and nature: "native totem poles set in deep forest locations or sites of abandoned native villages" and, later, "the large rhythms of Western forests, driftwood-tossed beaches and expansive skies". She blended these two themes in ways uniquely her own. Her "qualities of painterly skill and vision [...] enabled her to give form to a Pacific mythos that was so carefully distilled in her imagination".


title: Emily Carr

text: At the California School of Design in San Francisco, Carr participated in art classes which were focused on a variety of artistic styles. Many of Carr's art professors were trained in the Beaux Arts tradition in Paris, France. Though she took classes in drawing, portraiture, still life, landscape painting, and flower painting, Carr preferred to paint landscapes.


title: Emily Carr

text: Carr is known for her paintings of First Nations villages and Pacific Northwest Indian totems, but Maria Tippett explains that Carr's rare depictions of the forests of British Columbia from within make her work unique. Carr constructed a new understanding of Cascadia. This understanding includes a new approach to the presentation of native people and Canadian landscapes.


title: Emily Carr

text: After visiting the Gitksan village of Kitwancool in the summer of 1928, Carr became captivated by the maternal imagery in Pacific Northwest Indigenous totem poles. After Carr was exposed to these types of images, her paintings reflected these images of mother and child in Native carvings.


title: Emily Carr

text: Her painting can be divided into several distinct phases: her early work, before her studies in Paris; her early paintings under the Fauvist influence of her time in Paris; a post-impressionist middle period before her encounter with the Group of Seven; and her later, formal period, under the post-cubist influences of Lawren Harris and American artist and friend, Mark Tobey. Carr used charcoal and watercolour for her sketches, and later, house paint thinned with gasoline on manila paper. The greatest part of her mature work was oil on canvas or, when money was scarce, oil on paper.


title: Emily Carr

text: On November 28, 2013, one of Carr's paintings, "The Crazy Stair (The Crooked Staircase)", sold for $3.39 million at a Toronto art auction. As of the sale, it is a record price for a painting by a Canadian female artist.


title: Emily Carr

text: Carr's painting "Old Time Coast Village" (1929–30) is referenced in Korean Canadian artist Jin-me Yoon's "A Group of Sixty-Seven" (1996). The work is composed of sixty-seven portraits of the Korean Canadian community in Vancouver standing in front of "Old Time Coast Village" and a landscape painting by Group of Seven member Lawren S. Harris.


title: Emily Carr

text: Carr is also remembered for her writing, largely about her native friends. In addition to "Klee Wyck", Carr wrote "The Book of Small" (1942), "The House of All Sorts" (1944), and, published posthumously, "Growing Pains" (1946), "Pause" (1953), "The Heart of a Peacock" (1953), and "Hundreds and Thousands" (1966). Some of these books are autobiographical and reveal Carr as an accomplished writer. Criticisms have been made of her dramatized short stories as many readers expect them to be historically accurate.


title: Emily Carr

text: Carr's life itself made her a "Canadian icon", according to the "Canadian Encyclopedia". As well as being "an artist of stunning originality and strength", she was an exceptionally late bloomer, starting the work for which she is best known at the age of 57 (see Grandma Moses). Carr was also an artist who succeeded against the odds, living in an artistically unadventurous society, and working mostly in seclusion away from major art centres, thus making her "a darling of the women's movement" (see Georgia O'Keeffe, whom she met in 1930 in New York City). Emily Carr brought the north to the south; the west to the east; glimpses of the ancient culture of the Indigenous peoples of the Americas to the most newly arrived Europeans on the continent. However, it should be recognized that art historians who write about Carr in depth often respond to their particular points of view: Feminist studies (Sharyn R. Udall, 2000), First Nations scholarship (Gerta Moray, 2006), or the critical study of what an artist says as a tool to analyze the work itself (Charles C. Hill, Ian Thom, 2006).


title: Emily Carr

text: In 1952, works by Emily Carr along with those of David Milne, Goodridge Roberts and Alfred Pellan represented Canada at the Venice Biennale.


title: Emily Carr

text: On February 12, 1971, Canada Post issued a 6¢ stamp 'Emily Carr, painter, 1871–1945' designed by William Rueter based on Carr's "Big Raven" (1931), held by the Vancouver Art Gallery. On May 7, 1991, Canada Post issued a 50¢ stamp 'Forest, British Columbia, Emily Carr, 1931–1932' designed by Pierre-Yves Pelletier based on "Forest, British Columbia" (1931–1932), also from the Vancouver Art Gallery collection.


title: Emily Carr

text: In 1978, she was awarded the Royal Canadian Academy of Arts Medal. In 2014–2015, the Dulwich Picture Gallery in south London hosted a solo exhibition, the first time such show was held in Britain. In 2020, a travelling exhibition organized by the Audain Art Museum in Whistler, B.C. and co-curated by Kiriko Watanabe and Dr. Kathryn Bridge and titled "Emily Carr: Fresh Seeing – French Modernism and the West Coast" explored this aspect of Carr`s work in detail.


title: Emily Carr

text: A complete illustrated artist's biography of Emily Carr emphasising both her life and the development of her art is "Emily Carr: A biography" by Maria Tippett, Oxford University Press, 1979 (). Tippett's biography won the Governor General's Award for English-language non-fiction in 1979.


title: Emily Carr

text: Several biographies have been published of Carr's life with unsubstantiated speculations. Novelist Susan Vreeland's 2004 "The Forest Lover" brings in characters that did not exist in Carr's life, as well as factually recounting incidents that may not have happened. The book is a novelisation, not biography, based on events from Carr's life, using Emily Carr as the main character/protagonist and altering some characters and chronology for the purpose of pacing. Each part of the novel is introduced by a reproduction of a Carr painting.


title: Emily Carr

text: The British Columbia Archives holds the largest collection of Emily Carr artworks, sketches, and archival materials, which includes the Emily Carr fonds, the Emily Carr Art Collection, and a wealth of archival documents in held in the fonds of Carr's friends. There is an Emily Carr fonds at Library and Archives Canada. The archival reference number is R1969, former archival reference number MG30-D215. The fonds covers the date range 1891 to 1991. It consists of 1.764 meters of textual records, 10 photographs, 1 print, 7 drawings. A number of the records have been digitized and are available online. Library and Archives Canada also holds a number of other fonds containing material that touch on Emily Carr and her artistic works.


title: Spider-Punk

text: Spider-Punk (Hobart Brown) is a superhero appearing in American comic books published by Marvel Comics. He is an alternate version of Hobie Brown and Spider-Man who opposes President Norman Osborn, V.E.N.O.M., and the Inheritors.


title: Spider-Punk

text: Spider-Punk first appeared in "The Amazing Spider-Man" #10 (January 2015), created by writer Dan Slott and artist Olivier Coipel. According to Slott, the original design of Spider-Punk was intended to be Spider-UK by Coipel, but Slott disapproved of him being Spider-UK, describing the character as "all punk". Slott, however, liked the design and help utilize the character for Coipel.


title: Spider-Punk

text: During the "Spider-Verse" storyline, the Earth-138 version of Spider-Man is revealed to be Hobart Brown, originally operating as Spider-Punk. He is a homeless teenager who was transformed by a spider that was irradiated as part of President Norman Osborn's toxic waste dumping. He becomes the punk-rock inspired Spider-Man, leading the downtrodden people of New York against Osborn's V.E.N.O.M. troops. Spider-Punk managed to kill Osborn during a riot by bashing the President with his guitar. After President Osborn's death, Spider-Punk unmasked himself to the viewing crowd as their savior. Spider-Punk was later recruited by Superior Spider-Man (Otto Octavius's mind in Peter Parker's body) to join an army of Spider-Men.


title: Spider-Punk

text: During the "Spider-Geddon" storyline, Spider-Punk is shown to be fighting Thunderstrike while the other Web Warriors are dismantling Loomworld. Spider-Punk (who is starting to call himself Spider-Man) takes down Thunderstrike. When Spider-Punk states to Eric Masters to carry a message to the Red Skull about taking the Bowery, Eric is then reduced to a skeleton by Kang the Conglomerator who claims that he has the rights to his name in the future for his company KangCo. When Spider-Punk goes on the attack, Kang summons some Spider-Punk dolls to assist him. After fighting them, Spider-Punk gets away from them and asks for a tape from Captain Anarchy who is busy fighting the Annihilation Wave when they emerged in Harlem from the Negative Zone. When the Spider-Punk dolls catch up, they get into a fight with the Annihilation Wave where one of them eats the tape that Captain Anarchy was going to give to Spider-Punk. After getting the tape out of the insectoid's mouth, Spider-Punk is surprised when Kang catches up to him. As Captain Anarchy holds Kang off, Spider-Punk swings away. Meeting up with Robbie Banner, Hobie tries to convince him to help while reminding him of how he helped in battles against the U-Foes, the Universal Church of Truth, and Hydra. When Kang catches up again, Robbie plays the tape and becomes the Hulk to attack Kang. When Kang is defeated, he states that Captain Anarchy is not marketable and died old while Hobie died young. After Kang disappears with Hulk confused on what Kang meant, Spider-Girl shows up and states that something big is coming, and Spider-Punk agrees to go with her. Spider-Punk later visited an unnamed reality and saved the Norman Osborn version of Spider-Man from the collapsing Oscorp Tower. Seven months ago, Spider-Punk assisted Spider-Girl, Pavitr Prabhakar, Spider-UK, and Karn as the Master Weaver have been keeping a surveillance on the Inheritors as they send a Spider-Bot to Earth-3145 to check up on the Inheritors. Spider-Girl and Pavitr consider Spider-Punk to be the worst Spider-Man.


title: Spider-Punk

text: Spider-Punk is among the spider-powered characters that recruit Miles Morales to confront Superior Octopus when it was discovered that his cloning machine was made from the Inheritors' technology. They try to warn Superior Octopus, but it was too late as the Inheritors start to emerge as they kill Spider-Man Noir and Spider-UK. After the Inheritors emerge, Spider-Punk and Superior Octopus come up with a plan to kill the Inheritors. Spider-Punk informs the rest of Superior Spider-Man's group the bad news as Octavia Otto of Earth-1104 discovered that Solus lives again. As Miles Morales' group joins Superior Spider-Man's group in fighting the Inheritors, Spider-Punk notices that Jennix was driven insane and Verna is missing.


title: Spider-Punk

text: Spider-Punk’s first solo mini-series written by Cody Ziglar, art by Justin Mason finally fleshed out Earth-138 and gave a look at some characters of this universe.


title: Spider-Punk

text: Spider-Punk and Captain Anarchy are seen fighting Kraven and the Hunters (Earth-138’s version of Kraven the Hunter). Soon after they head back to base and there we meet Riri Williams who goes by Riotheart. Hobie shows her a weapon that was left by Kraven and the Hunters that the two try and figure out its source. Captain Anarchy bursts in and tells the two that Kraven is attacking the base and to prepare to fight. A final battle unfolds and we get our first look at Riri’s Riot Heart armor. Kraven and the Hunters are subdued yet again when Spider-Punk and the gang try questioning him for clues about the weapons until a big explosion erupts. Out of the smoke steps, Ta$kmaster.


title: Spider-Punk

text: Spider-Punk makes a cameo appearance in the "Ultimate Spider-Man" episode "Return to the Spider-Verse: Part 4", voiced by Drake Bell. This version speaks with a Cockney accent. He is among several alternate reality Spider-Men that the villainous Wolf Spider took hostage to siphon their powers before the "prime" Spider-Man, Kid Arachnid, and Spider-Woman arrive to save them.


title: Identity formation

text: Identity formation, also called identity development or identity construction, is a complex process in which humans develop a clear and unique view of themselves and of their identity.


title: Identity formation

text: Self-concept, personality development, and values are all closely related to identity formation. Individuation is also a critical part of identity formation. Continuity and inner unity are healthy identity formation, while a disruption in either could be viewed and labeled as abnormal development; certain situations, like childhood trauma, can contribute to abnormal development. Specific factors also play a role in identity formation, such as race, ethnicity, and spirituality.


title: Identity formation

text: The concept of personal continuity, or personal identity, refers to an individual posing questions about themselves that challenge their original perception, like "Who am I?" The process defines individuals to others and themselves. Various factors make up a person's actual identity, including a sense of continuity, a sense of uniqueness from others, and a sense of affiliation based on their membership in various groups like family, ethnicity, and occupation. These group identities demonstrate the human need for affiliation or for people to define themselves in the eyes of others and themselves.


title: Identity formation

text: Identities are formed on many levels. The micro-level is self-definition, relations with people, and issues as seen from a personal or an individual perspective. The meso-level pertains to how identities are viewed, formed, and questioned by immediate communities and/or families. The macro-level are the connections among and individuals and issues from a national perspective. The global level connects individuals, issues, and groups at a worldwide level.


title: Identity formation

text: Identity is often described as finite and consisting of separate and distinct parts (e.g., family, cultural, personal, professional).


title: Identity formation

text: Many theories of development have aspects of identity formation included in them. Two theories directly address the process of identity formation: Erik Erikson's stages of psychosocial development (specifically the Identity versus Role Confusion stage), James Marcia's identity status theory, and Jeffrey Arnett's theories of identity formation in emerging adulthood.


title: Identity formation

text: Erikson's theory is that people experience different crises or conflicts throughout their lives in eight stages. Each stage occurs at a certain point in life and must be successfully resolved to progress to the next stage. The particular stage relevant to identity formation takes place during adolescence: Identity versus Role Confusion.


title: Identity formation

text: The Identity versus Role Confusion stage involves adolescents trying to figure out who they are in order to form a basic identity that they will build on throughout their life, especially concerning social and occupational identities. They ask themselves the existential questions: "Who am I?" and "What can I be?" They face the complexities of determining one's own identity. Erikson stated that this crisis is resolved with identity achievement, the point at which an individual has extensively considered various goals and values, accepting some and rejecting others, and understands who they are as a unique person. When an adolescent attains identity achievement, they are ready to enter the next stage of Erikson's theory, Intimacy versus Isolation, where they will form strong friendships and a sense of companionship with others.


title: Identity formation

text: If the Identity versus Role Confusion crisis is not positively resolved, an adolescent will face confusion about future plans, particularly their roles in adulthood. Failure to form one's own identity leads to failure to form a shared identity with others, which can lead to instability in many areas as an adult. The identity formation stage of Erik Erikson's theory of psychosocial development is a crucial stage in life.


title: Identity formation

text: Marcia created a structural interview designed to classify adolescents into one of four statuses of identity. The statuses are used to describe and pinpoint the progression of an adolescent's identity formation process. In Marcia's theory, identity is operationally defined as whether an individual has explored various alternatives and made firm commitments to an occupation, religion, sexual orientation, and a set of political values.


title: Identity formation

text: Jeffrey Arnett's theory states that identity formation is most prominent in emerging adulthood, consisting of ages 18–25. Arnett holds that identity formation consists of indulging in different life opportunities and possibilities to eventually make important life decisions. He believes this phase of life includes a broad range of opportunities for identity formation, specifically in three different realms.


title: Identity formation

text: Self-concept, or self-identity, is the set of beliefs and ideas an individual has about themselves. Self-concept is different from self-consciousness, which is an awareness of one's self. Components of the self-concept include physical, psychological, and social attributes, which can be influenced by the individual's attitudes, habits, beliefs, and ideas; they cannot be condensed into the general concepts of self-image or self-esteem. Multiple types of identity come together within an individual and can be broken down into the following: cultural identity, professional identity, ethnic and national identity, religious identity, gender identity, and disability identity.


title: Identity formation

text: Cultural identity is formation of ideas an individual takes based on the culture they belong to. Cultural identity relates to but is not synonymous with identity politics. There are modern questions of culture that are transferred into questions of identity. Historical culture also influences individual identity, and as with modern cultural identity, individuals may pick and choose aspects of cultural identity, while rejecting or disowning other associated ideas.


title: Identity formation

text: Professional identity is the identification with a profession, exhibited by an aligning of roles, responsibilities, values, and ethical standards as accepted by the profession.


title: Identity formation

text: In business, professional identity is the professional self-concept that is founded upon attributes, values, and experiences. A professional identity is developed when there is a philosophy that is manifested in a distinct corporate culture – the corporate personality. A business professional is a person in a profession with certain types of skills that sometimes require formal training or education.


title: Identity formation

text: Career development encompasses the total dimensions of psychological, sociological, educational, physical, economic, and chance that alter a person’s career practice across the lifespan. Career development also refers to the practices from a company or organization that enhance someone’s career or encourages them to make practical career choices.


title: Identity formation

text: Training is a form of identity setting, since it not only affects knowledge but also affects a team member's self-concept. On the other hand, knowledge of the position introduces a new path of less effort to the trainee, which prolongs the effects of training and promotes a stronger self-concept. Other forms of identity setting in an organization include Business Cards, Specific Benefits by Role, and Task Forwarding.


title: Identity formation

text: An ethnic identity is an identification with a certain ethnicity, usually on the basis of a presumed common genealogy or ancestry. Recognition by others as a distinct ethnic group is often a contributing factor to developing this identity. Ethnic groups are also often united by common cultural, behavioral, linguistic, ritualistic, or religious traits.


title: Identity formation

text: Processes that result in the emergence of such identification are summarized as ethnogenesis. Various cultural studies and social theory investigate the question of cultural and ethnic identities. Cultural identity adheres to location, gender, race, history, nationality, sexual orientation, religious beliefs, and ethnicity.


title: Identity formation

text: National identity is an ethical and philosophical concept where all humans are divided into groups called nations. Members of a "nation" share a common identity and usually a common origin, in the sense of ancestry, parentage, or descent.


title: Identity formation

text: A religious identity is the set of beliefs and practices generally held by an individual, involving adherence to codified beliefs and rituals and study of ancestral or cultural traditions, writings, history, mythology, and faith and mystical experience. Religious identity refers to the personal practices related to communal faith along with rituals and communication stemming from such conviction. This identity formation begins with an association in the parents' religious contacts, and individuation requires that the person chooses the same or different religious identity than that of their parents.


title: Identity formation

text: In sociology, gender identity describes the gender with which a person identifies (i.e., whether one perceives oneself to be a man, a woman, outside of the gender binary), but can also be used to refer to the gender that other people attribute to the individual on the basis of what they know from gender role indications (social behavior, clothing, hairstyle, etc.). Gender identity may be affected by a variety of social structures, including the person's ethnic group, employment status, religion or irreligion, and family. It can also be biological in the sense of puberty.


title: Identity formation

text: Disability identity refers to the particular disabilities that an individual identifies with. This may be something as obvious as a paraplegic person identifying as such, or something less prominent such as a deaf person regarding themselves as part of a local, national, or global community of Deaf People Culture.


title: Identity formation

text: Disability identity is almost always determined by the particular disabilities that an individual is born with, though it may change later in life if an individual later becomes disabled or when an individual later discovers a previously overlooked disability (particularly applicable to mental disorders). In some rare cases, it may be influenced by exposure to disabled people as with body integrity dysphoria.


title: Identity formation

text: Political identities often form the basis of public claims and mobilization of material and other resources for collective action. One theory that explores how this occurs is social movement theory. According to Charles Tilly, the interpretation of our relationship to others ("stories") create the rationale and construct of political identity. The capacity for action is constrained by material resources and sometimes perceptions that can be manipulated by using communication strategies that support the creation of illusory ties.


title: Identity formation

text: Interpersonal identity development comes from Marcia's Identity Status Theory, and refers to friendship, dating, gender roles, and recreation as tools to maturity in a psychosocial aspect of an individual.


title: Identity formation

text: Social relation can refer to a multitude of social interactions regulated by social norms between two or more people, with each having a social position and performing a social role. In a sociological hierarchy, social relation is more advanced than behavior, action, social behavior, social action, social contact, and social interaction. It forms the basis of concepts like social organization, social structure, social movement, and social system.


title: Identity formation

text: Interpersonal identity development allows an individual to question and examine various personality elements, such as ideas, beliefs, and behaviors. The actions or thoughts of others create social influences that change an individual. Examples of social influence can be seen in socialization and peer pressure, which can affect a person's behavior, thinking about one's self, and subsequent acceptance or rejection of how other people attempt to influence the individual. Interpersonal identity development occurs during exploratory self-analysis and self-evaluation, and ends at various times to establish an easy-to-understand and consolidative sense of self or identity.


title: Identity formation

text: During interpersonal identity development, an exchange of propositions and counter-propositions occurs, resulting in a qualitative transformation of the individual. The aim of interpersonal identity development is to resolve the undifferentiated facets of an individual, which are found to be indistinguishable from others. Given this, and with other admissions, the individual is led to a contradiction between the self and others, and forces the withdrawal of the undifferentiated self as truth. To resolve the incongruence, the person integrates or rejects the encountered elements, which results in a new identity. During each of these exchanges, the individual must resolve the exchange before facing future ones. The exchanges are endless since the changing world constantly presents exchanges between individuals and thus allows individuals to redefine themselves constantly.


title: Identity formation

text: Collective identity is a sense of belonging to a group (the collective). If it is strong, an individual who identifies with the group will dedicate their lives to the group over individual identity: they will defend the views of the group and take risks for the group, often with little to no incentive or coercion. Collective identity often forms through a shared sense of interest, affiliation, or adversity. The cohesiveness of the collective identity goes beyond the community, as the collective experiences grief from the loss of a member.


title: Identity formation

text: Individuals gain a social identity and group identity from their affiliations in various groups, which include: family, ethnicity, education and occupational status, friendship, dating, and religion.


title: Identity formation

text: One of the most important affiliations is that of the family, whether they be biological, extended, or even adoptive families. Each has its own influence on identity through the interaction that takes place between the family members and with the individual. Researchers and theorists state that an individual's identity (more specifically an adolescent's identity) is influenced by the people around them and the environment in which they live. If a family does not have integration, it is likely to cause identity diffusion (one of James Marcia's four identity statuses, where an individual has not made commitments and does not try to make them), and applies to both males and females.


title: Identity formation

text: Morgan and Korobov performed a study in order to analyze the influence of same-sex friendships in the development of one's identity. This study involved the use of 24 same-sex college student friendship triads, consisting of 12 males and 12 females, with a total of 72 participants. Each triad was required to have known each other for a minimum of six months. A qualitative method was chosen, as it is the most appropriate in assessing the development of identity. Semi-structured group interviews took place, where the students were asked to reflect on stories and experiences concerning relationship problems. The results showed five common responses when assessing these relationship problems: joking about the relationship's problems, providing support, offering advice, relating others' experiences to their own similar experiences, and providing encouragement. The results concluded that adolescents actively construct their identities through common themes of conversation between same-sex friendships; in this case, involving relationship issues. The common themes of conversation that close peers seem to engage in helping to further their identity formation in life.


title: Identity formation

text: Cognitive development influences identity formation. When adolescents are able to think abstractly and reason logically, they have an easier time exploring and contemplating possible identities. When an adolescent has advanced cognitive development and maturity, they tend to resolve identity issues more so than age mates that are less cognitively developed. When identity issues are solved quicker and better, there is more time and effort put into developing that identity.


title: Identity formation

text: Adolescents that have a post-secondary education tend to make more concrete goals and stable occupational commitments. Going to college or university can influence identity formation in a productive way. The opposite can also be true, where identity influences education and academics. Education's effect on identity can be beneficial for the individual's identity; the individual becomes educated on different approaches and paths to take in the process of identity formation.


title: Identity formation

text: Sociocultural influences are those of a broader social and historical context. For example, in the past, adolescents would likely just adopt the job or religious beliefs that were expected of them or that were akin to their parents. Today, adolescents have more resources to explore identity choices and more options for commitments. This influence is becoming less significant due to the growing acceptance of identity options that were once less accepted. Many of the identity options from the past are becoming unrecognized and less popular today. The changing sociocultural situation is forcing individuals to develop a unique identity based on their own aspirations. Sociocultural influences play a different role in identity formation now than they have in the past.


title: Identity formation

text: The type of relationship that adolescents have with their parents has a significant role in identity formation. For example, when there is a solid and positive relationship between parents and adolescents, they are more likely to feel freedom in exploring identity options for themselves. A study found that for boys and girls, identity formation is positively influenced by parental involvement, specifically in the areas of support, social monitoring, and school monitoring. In contrast, when the relationship is not as close and the fear of rejection or discontentment from the parent or other guardians is present, they are more likely to feel less confident in forming a separate identity from their parents.


title: Identity formation

text: The Internet is becoming an extension of the expressive dimension of adolescence. On the Internet, youth talk about their lives and concerns, design the content that they make available to others, and assess the reactions of others to it in the form of optimized and electronically mediated social approval. When connected, youth speak of their daily routines and lives. With each post, image or video they upload, they can ask themselves who they are and try out profiles that differ from the ones they practice in the "real" world.


title: Dracula (Castlevania)

text: The Dracula of "Castlevania" is based on Bram Stoker's character in the novel of the same name, who was in turn likely named for Vlad III Dracula of Wallachia. The "Castlevania" Dracula draws some history from both, but instead of only preying on maidens, this version threatens whole realms with his armies at the least, and at worst is presented as the very embodiment of evil. He is, however, capable of loving relationships (his evil nature is partly fuelled by the loss of two women he loved) and, despite their differences, he loves his son Alucard.


title: Dracula (Castlevania)

text: In the series reboot "", Dracula is reimagined as an 11th-century holy knight named Gabriel Belmont and serves as the central character of the game and its two sequels. The "Lords of Shadow" series tells the story of Gabriel's quest to save the world, fall into darkness, and journey of redemption.


title: Dracula (Castlevania)

text: Dracula's appearance is inconsistent throughout the series' history. His face resembles that of Bela Lugosi's Dracula in the first few games and in "". In "" and the beginning of "", he resembles an anime character with medium length, purple hair. He has a more demonic look in "Castlevania: Dracula X" and "". "Symphony of the Night" gives him a beard or goatee and longer hair. His hair color changes between a dark brown or black and gray color. He has a very heavyset and muscular looking face in the Nintendo 64 "Castlevania" games, whereas he has a more thin and elegant face in "Symphony of the Night" and the first two handheld games. In "", Dracula wears a long robe, with a more realistic version of the "Symphony of the Night" face. In just about every game, he wears very aristocratic clothing, whether it be a tuxedo or royal garb (complete with medals and medallions). While his bio in "Castlevania Judgement" states he's 220 cm (7 ft 3 in), Dracula has no definitive height. His stature usually varies depending on which form he takes in each game, but it can be estimated based on in-game measurements that he is about 186 centimeters (6 ft 1 in) in his true form, and 305 centimeters (10 feet) in his "boss fight" form. Regardless of his appearance, Dracula is almost always twice as tall as his opponents in his more "human" form which usually requires the player to jump in order to hit him.


title: Dracula (Castlevania)

text: His most common form of attack is to teleport from one part of the screen to another, then open his cape to fire a spread of three fireballs at the player. In later games he can also fire larger, meteor-like fireballs: these attacks are called "HellFire" and "Dark Inferno" respectively. Usually, he can only be damaged with strikes to the head or neck area. After being defeated in his humanoid form, Dracula usually morphs into a larger, more powerful demon-like dragon or dinosaur form. In some games, such as "", Dracula consists of three forms in total. This is in contrast to "", where he only has one form. This battle with Dracula does feature multiple phases of combat, however: in the first phase, he acts as described above yet shoots a barrage of fireballs for Hellfire and has a new attack called "Fatal Ray", which he performs after he uses Dark Inferno. With this attack, he shoots beams of dark energy into the air which cascade down shortly afterward. If playing as Shanoa, the battle enters the third phase when the second is completed: here he cannot be damaged and a certain Glyph Union must be performed before he unleashes "Giga Demonic Megiddo", which can easily kill Shanoa with one blast (a weaker version of this attack features in "Portrait of Ruin", during the Dracula and Death stage of the battle).


title: Dracula (Castlevania)

text: For the "Lords of Shadow" series, in which Dracula is playable, his design was influenced by Robert Carlyle. Carlyle complimented Dave Cox's work while Cox said that thanks to Carlyle's own work, Gabriel's design was changed more. Producer Dave Cox used Tony Soprano from the television drama "The Sopranos" as an example in regards to Dracula's characterization. By "Lords of Shadow 2", Dracula starts questioning his actions. Kojima's input included advising Cox's team to redesign some of the lead character, Gabriel, who he felt needed a "more heroic face". Originally, Gabriel's design resembled a classic barbarian, before Kojima then advised the staff to refine him into a character that was more relatable for the player. Cox mentioned that the voice acting provided by Robert Carlyle helped humanize Gabriel's character.


title: Dracula (Castlevania)

text: Dracula first appeared in 1986's "Castlevania", set in 1691. At this point the plot of the series was very simple – Simon Belmont takes up his ancestral weapon, the Vampire Killer whip, and ventures into Dracula's castle to defeat its proprietor. The original game has no in-game text to drive the story along. The plot of "Castlevania" was re-used in the remakes "Vampire Killer", "Haunted Castle", "Super Castlevania IV" and "Castlevania Chronicles".


title: Dracula (Castlevania)

text: In the manual of the second game, "", it is revealed that, in his dying moments at the end of the first game, Dracula placed a curse on Simon, which condemned him to slowly die of his wounds. In 1698, Simon sets out to gather Dracula's scattered body parts and use them to resurrect the Count in the ruins of his castle. Simon then defeats the reborn Dracula. The best ending hints that although Simon defeats Dracula and dispels his curse, Dracula nonetheless revives himself. The 2 other endings in the game reveal that Simon died as a result of the final confrontation(this result happens if you take more than 7 days during the game to defeat Dracula).


title: Dracula (Castlevania)

text: "" is a prequel to the original game, starring Simon's ancestor Trevor in 1476. This game introduced Alucard, Dracula's estranged son. In "Dracula's Curse", it is stated that Dracula "practiced sorcery in order to create a bad world filled with evil". The people of Transylvania secure the aid of Trevor Belmont, who journeys to Castlevania and meets up with several allies along the way, including Alucard, Sypha Belnades and Grant Danasty.


title: Dracula (Castlevania)

text: In "", set in 1576, Christopher Belmont defeats Dracula. It is later revealed that Dracula escaped and survived until 1591, when he kidnapped Christopher's son Soleiyu and tried to turn him against his father. In "", Christopher defeats Dracula again and saves his son.


title: Dracula (Castlevania)

text: "" takes place in 1792 and stars a new Belmont named Richter. This was the first game in the series to use substantial voice acting to further the narrative. Dracula is resurrected by a cult led by a dark priest named Shaft. He proceeds to kidnap several villagers including Richter's girlfriend Annette (who was renamed to Annet Renard in "Castlevania: Dracula X" and became Maria's sister) and Maria Renard. In the "best" ending of the game, Richter saves all the kidnapped women and defeats Dracula.


title: Dracula (Castlevania)

text: The protagonist of "" is Alucard, who enters Castlevania in 1797 following the disappearance of Richter. "Symphony of the Night" introduced the character of Lisa, Alucard's mother and Dracula's wife who had been executed as a witch for preparing medicine to help the sick. Alucard discovers that Shaft had placed Richter under a dark spell, the idea being that Richter would destroy all other enemies of Dracula. Alucard defeats Shaft, then faces his resurrected father. They exchange words before Alucard defeats Dracula, telling him Lisa's last words: "Do not hate humans. If you cannot live with them, then at least do them no harm, for theirs is already a hard lot". Dracula cries out for Lisa's forgiveness as he returns to the abyss.


title: Dracula (Castlevania)

text: In "Castlevania Legends", a loose prequel to "Symphony of the Night", Sonia Belmont, heavily implied to be Trevor's mother, faces Dracula circa 1450. Alucard is also featured in the game, and it appears that Sonia and Alucard were lovers. Series producer Koji Igarashi, who was not involved with "Legends"' development, has declared it to not be part of the "Castlevania" canon.


title: Dracula (Castlevania)

text: "" (known as "Castlevania: The New Generation" in Europe and Australia) is set in 1917 and attempted to tie the series closer to Bram Stoker's novel. The protagonists are John Morris and Eric Lecarde. John was intended to be the son of Quincey Morris from the novel. This game introduced Dracula's niece, Elizabeth Bartley, named for Elizabeth Báthory. It was implied that Bartley arranged the assassination of Archduke Franz Ferdinand of Austria in order to precipitate World War I. She resurrects Dracula, but she and her uncle are defeated by John and Eric.


title: Dracula (Castlevania)

text: The 1999 "Castlevania" and "" take place in the mid-19th century. In these games, Dracula's return is accomplished through the unusual method of having him reincarnated as a child named Malus.


title: Dracula (Castlevania)

text: Set in the early 1800s, "" explains how Dracula was defeated by vampire hunter Morris Baldwin. At the start of the game, Dracula is resurrected by his disciple Camilla. The player assumes the role of Nathan Graves, a student of Morris Baldwin, who once again defeats the newly resurrected Dracula.


title: Dracula (Castlevania)

text: "" takes place in 1748. Simon's grandson Juste is the main character. He enters Castlevania to save his childhood friend Lydie Erlanger. Their friend Maxim Kischine resurrected Dracula in order to prove his worth as a vampire hunter. Dracula is defeated by Juste.


title: Dracula (Castlevania)

text: "" features a deeper plot than the previous two. Set in 2035, the game stars Soma Cruz, a high school exchange student visiting Japan with his friend Mina. The villain of this game is not Dracula, as he died a real death over 30 years ago, but Graham Jones, a cult leader who believes himself to be Dracula's reincarnation. The game also introduced the amnesiac Julius Belmont, who defeated Dracula for the last time in 1999. It is revealed that Soma himself is actually Dracula's reincarnation, and possesses the Count's power to absorb the souls of various monsters and thereby assume their powers.


title: Dracula (Castlevania)

text: The prequel "" takes place in 1094. The game introduced Crusaders Leon Belmont and Mathias Cronqvist. In 1093, they returned from a campaign to find that Mathias' wife Elisabetha had died. A year later, Leon's fiancée Sara disappears. Mathias tells Leon that she was kidnapped by a vampire named Walter Bernhard, who lives in a castle in the Forest of Eternal Night. Leon forsakes his title and arms in order to venture into the castle and save Sara. He is given a weapon known as the Whip of Alchemy. Leon eventually rescues Sara, but she is already infected with the vampire's curse. She sacrifices her soul to imbue the Whip of Alchemy with the power to destroy Walter. Leon returns to the castle and defeats Walter. Mathias then appears and reveals that he orchestrated the entire scheme in order to gain possession of the Crimson Stone. Mathias blamed God for Elisabetha's death, and plans to revenge himself upon God by becoming immortal. He offers Leon the chance to join him in eternal life. Leon refuses. Disappointed, Mathias escapes, leaving Leon to battle Death. Series producer Koji Igarashi has confirmed that Mathias eventually becomes Dracula.


title: Dracula (Castlevania)

text: "" is a sequel to "Castlevania III", taking place in 1479. The main character is Hector, a "Devil Forgemaster" who served Dracula but left his service just prior to his defeat at the hands of Trevor. With his dying words, Dracula places a curse upon the land. Hector plans to live peacefully amongst humans, but his wife Rosalie is executed for witchcraft at the behest of fellow Forgemaster Isaac. Hector swears revenge upon Isaac, but this is a ploy; Isaac intends to use Hector as the vessel for Dracula's return. Hector defeats Isaac, who himself becomes the vessel. Hector then faces Dracula, defeats him, and used his powers to dispel the curse.


title: Dracula (Castlevania)

text: "" is a sequel to "Aria of Sorrow" and once again stars Soma Cruz. This time, Soma faces a cult led by Celia Fortner who wish to resurrect Dracula in order to bring about the arrival of the ultimate good to balance the ultimate evil. In the "bad" ending of the game, Soma succumbs to Dracula's power and kills Celia in cold blood: this unlocks a non-canon storyline called "Julius Mode" in which Julius ventures through the castle and defeats Soma. If Soma equips Mina's talisman beforehand, he resists the transformation (and is snapped out of it by Arikado), but his power of dominance is copied by Dmitri Blinov, one of Celia's accomplices, and he and Celia escape underground. Celia still dies, however: Dmitri sacrifices her to corrupt Arikado's power and render him unable to fight. Dmitri attempts to become the new Dracula like Graham before him so he may understand his power, but he loses control of the power of dominance and is consumed by it. This transforms him into a gargantuan creature called Menace, which Soma vanquishes. This results in the "good" ending, in which Soma is reassured that even if there is a need for a dark lord, it does not need to be him.


title: Dracula (Castlevania)

text: "" is a sequel to "Bloodlines". The player takes control of Jonathan Morris, John Morris' son, and Charlotte Aulin. In this game, Dracula's castle is resurrected by vampire artist Brauner during World War II. At the end of this game, Dracula takes the unusual step of fighting alongside Death, before fusing with Death and morphing into a final, demonic form.


title: Dracula (Castlevania)

text: "" is set around 1800 and features a holy order named Ecclesia which had apparently created a power named Dominus with the ability to defeat Dracula. However, Dominus is actually constructed from Dracula's own power, and the Order made Dominus to break the seal on the casket imprisoning his soul, as their leader Barlowe believed Dracula's return was secretly mankind's greatest desire. Ecclesia's chief researcher Albus had stolen the Dominus glyph in an attempt to protect the main character, Shanoa, who had been raised as his younger sister, but became possessed by Dracula when he absorbed one part of the glyph. After Dracula's resurrection, Shanoa faces and defeats him.


title: Dracula (Castlevania)

text: Dracula appears in the post-credits scene of "", a reboot of the series. The game follows Gabriel Belmont in the year 1047, but the epilogue reveals that in modern times Gabriel has become a vampire who identifies himself by saying "Eu sunt Dracul" in Romanian which can roughly translate to "I am the Dragon", "I am the Devil" or more popularly "I am Dracula". A secondary character, Zobek, finds Dracula hiding in a ruined church and tries to win his support against the acolytes of Satan. Before Gabriel disappears, Zobek tells him he will free him of his immortality if he helps him. It is explained through the game's two DLC Packages Reverie and Resurrection that after the defeat of the Lords of Shadow, a powerful demon they locked away called the Forgotten One had begun to break free. In order to enter the demon's prison dimension Gabriel, somewhat reluctantly allowed himself to be turned into a vampire followed by defeating the demon by absorbing its power and killing it in a single blow, completely sacrificing his humanity in the process.


title: Dracula (Castlevania)

text: In "Mirror of Fate" Gabriel returns as Dracula. His goal is to destroy the Brotherhood of Light in order to "remake" the world, as he believes the Brotherhood is evil and corrupt, as the Brotherhood manipulated him and allowed his wife to be killed when they could have prevented it. The brotherhood believed Gabriel was the chosen one, and would redeem mankind. The Brotherhood however knew of his descent into darkness so they raised his son, Trevor, kept from him in secret by Marie, as a member of the brotherhood in order to combat his father. Later Trevor would track down his father and attempt to avenge the death of his mother. He is impaled with his own Combat Cross. While dying, Trevor looks into the Mirror of Fate and sees what actually happened to Gabriel. Feeling sorry for him, he calls him his father. After looking into the mirror and learning the truth, Dracula panics and desperately attempts to revive him by giving him his own blood. After it does not seem to work, he puts Trevor in a coffin with the name Alucard as he never knew his son's true name. Dracula faces his son, now revived, and his grandson Simon. The end of the battle sees him disappear and Alucard says that's not how a vampire is supposed to die.


title: Dracula (Castlevania)

text: Gabriel returns as the main character in "", where he refers to himself as the dragon, Dracul. Having abandoned his quest for vengeance, his goal is to put an end to his immortal existence.


title: Dracula (Castlevania)

text: Dracula appears as a recurring villain in the 1989 animated series "". He is never referred to by name, only being addressed as "The Count". He is depicted as a lanky vampire in a yellow suit, later changed to black and blue in the show's third season. He seeks to terrorize the land of Castlevania, but is typically thwarted by Simon Belmont and the N Team. He has a strained relationship with his teenage son Alucard.


title: Dracula (Castlevania)

text: Dracula appears as a central character in the 2017 animated series "Castlevania", voiced by Graham McTavish. The series adapts the events of "" and reveals how Dracula first comes to meet his human wife, Lisa, and later how her unjust execution drives him to wage extinction on mankind. He is defeated at the end of season two by the combined efforts of Trevor Belmont, Sypha Belnades, and his son Alucard. Following his death, a number of individuals work to bring about Dracula's resurrection, including Death, who very nearly succeeds in resurrecting Dracula along with Lisa in the body of a Rebis. Though Trevor Belmont destroys both the Rebis and Death, through unexplained means, Dracula and Lisa return to life. The two set out to build a new life for themselves, contemplating moving to Whitby and resolving to not tell Alucard that they are alive for the time being, feeling that he needs closure.


title: Dracula (Castlevania)

text: Dracula appears as a boss in "Super Smash Bros. Ultimate". He is encountered at the end of Classic Mode while playing as Simon, Richter, Luigi, Pac-Man, or the downloadable character Sephiroth. He also appears in the game's Adventure Mode: World of Light as the boss at the end of a "Castlevania"-themed map.


title: Dracula (Castlevania)

text: Dracula has become one of gaming's most popular villains based on his role on the franchise. He was listed as the third top villain of 2006 by "Game Informer". He was also listed as the number 7 most recurring video game character who has died repeatedly and been resurrected. He is ranked third on "EGM"'s Top Ten Badass Undead. GameDaily ranked him number sixteen in their "Top 25 Evil Masterminds of All Time" article, noting his persistence. His persistence resulted in him being ranked amongst the most persistent video game villains of all time by GameDaily. IGN listed him eight in their "Top 10 Most Memorable Villains" article, noting his grudge against the Belmonts and calling him "the Timex of villains." In a later article, they listed him as one of their favorite monsters in video gaming, stating a preference for the "Castlevania" representation of Dracula over others due to him having "a sense of fashion and style that few other versions possess." They would also list him as the 23rd best video game villain, calling him one of the most prolific video game villains ever. GamesRadar listed him first on their list of video game villains who never stay dead, stating that he has died more than any other video game villain ever and that like "The Legend of Zelda" antagonist Ganon, he never learns from his previous battles.


title: Dracula (Castlevania)

text: Journalists also commented on other characterizations of Dracula; Gabriel Belmont was listed as the fourth best video game hero who becomes evil by What Culture, citing the twist in how the character becomes Dracula. Similarly, GamesRadar listed Gabriel seventh in their "Top 7... fallen heroes that became awesome villains", mentioning how his personality changed in the franchise when becoming a vampire. For the animated "Castlevania" series, Anime News Network writer Zac Bertschy noted that one of its charms was that in contrast to many vampire series, Dracula was not the original real villain but instead the Church that killed his wife which causes Dracula to become evil. Bertschy also highly praised Scottish voice actor Graham McTavish for providing Dracula's voice as he "makes Dracula sound at once worldly and feral, aristocratic and satanic". The Verge agreed in regards to Dracula's characterization, finding him as a "sympathetic character as opposed to cartoonish villain with no real motivation beyond an unjustified drive to be evil". Dave Trumbore of Collider found Dracula's thirst of revenge understandable despite the chaos he makes. Dan Seitz at Uproxx agreed but felt the series sidelined the character.


title: Dracula (Castlevania)

text: In an interview regarding Dracula's humanization, Anime News Network told the Netflix staff, Dracula's humanization in the Netflix was better than the ones from other anti-villains like Magneto or Thanos which Executive Producer Adi Shankar found as an accomplishment.


title: Nolito

text: Manuel Agudo Durán (; born 15 October 1986), known as Nolito (), is a Spanish professional footballer who plays as a winger or a forward for Segunda División club Ibiza.


title: Nolito

text: Having begun his career at lower league clubs he signed for Barcelona in 2008, playing predominantly with its reserves. He totalled over 160 games and 40 goals in La Liga, where he also represented Granada, Celta and Sevilla. Abroad, he played two seasons for Benfica in Portugal, and one in the English Premier League with Manchester City.


title: Nolito

text: Born in Sanlúcar de Barrameda, Cádiz, Andalusia, Nolito began his career with UD Algaida in his hometown before joining Atlético Sanluqueño in 2000. He made his first-team debut in Tercera División with the latter club at the age of just 15, scoring on his debut, and moved to Valencia in 2003, where he wrapped up his formative years.


title: Nolito

text: Nolito returned to Sanluqueño in 2005, and was their top scorer in the 2005–06 season with 27 goals (24 in the regular season). He then signed with Écija of the Segunda División B, where he scored in a 1–1 home draw against Real Madrid in the 2006–07 Copa del Rey.


title: Nolito

text: Nolito arrived at Barcelona's youth academy at nearly 22 years of age, after scoring 13 times for Écija the previous campaign. With the Catalans' B team, also in the third tier, he scored 16 league goals over two seasons – 12 in the second– as the side returned to the Segunda División after an 11-year absence.


title: Nolito

text: On 3 October 2010, Nolito made his La Liga debut for Barcelona, coming on as a substitute for Pedro in a 1–1 home draw against Mallorca. On 10 November, he opened the 5–1 home win over Ceuta in the round of 32 of the Copa del Rey (7–1 on aggregate).


title: Nolito

text: In late May 2011, Nolito rejected Barcelona's offer of a professional contract and instead signed a five-year deal with Portuguese club Benfica, effective as of 1 July. He scored on his official debut on the 27th, a 2–0 home win against Trabzonspor in the UEFA Champions League third qualifying round. He also netted in the second leg, a 1–1 draw.


title: Nolito

text: On 20 August 2011, Nolito scored once in a 3–1 home victory over Feirense, making him alongside Eusébio the only player to score in his first five official matches. He managed 15 goals in 48 competitive appearances in his first season, helping his team to win the Taça da Liga.


title: Nolito

text: Nolito returned to his country and his native region on 29 January 2013, being loaned to Granada for six months and a fee of €600,000, without the possibility of making the move permanent in June. In his first match, four days after signing, he took the corner which resulted in Cristiano Ronaldo's own goal for the game's only, giving Granada their first win over Real Madrid in 40 years.


title: Nolito

text: Nolito signed with Celta de Vigo on 1 July 2013, penning a four-year deal and reuniting with former Barcelona B boss Luis Enrique. He finished his debut campaign as team top scorer with 14.


title: Nolito

text: Nolito was named La Liga Player of the Month for September 2014, with four goals during a month which ended with the side in sixth position. He created 96 goalscoring opportunities over the campaign, the most in the Spanish league and fourth most in Europe's five leading leagues.


title: Nolito

text: On 23 September 2015, Nolito took his league tally to five after scoring once and providing two assists for Iago Aspas in a 4–1 home defeat of former club Barcelona. He totalled three goals and an assist that month to help them remain unbeaten, earning him a second Player of the Month accolade. In mid-December, however, he suffered a hamstring injury against Espanyol which sidelined him for two months.


title: Nolito

text: Nolito returned to action on 20 February 2016, featuring roughly 20 minutes in a 3–2 home win over Eibar. In the following round, he scored the game's only goal at Getafe, and Celta eventually finished in sixth place.


title: Nolito

text: On 1 July 2016, Nolito signed with Premier League side Manchester City on a four-year deal for a fee of £13.8 million. He made his debut on 13 August, playing 59 minutes in a 2–1 home victory against Sunderland. Three days later he scored his first goal, and also provided an assist to Sergio Agüero in a 5–0 away rout of Steaua București in the Champions League play-off round.


title: Nolito

text: Nolito made a few appearances during his time in Manchester, but he and his family were unsettled by life in England.


title: Nolito

text: In July 2017, Sevilla signed Nolito on a three-year contract. He spent the better part of 2018–19 on the sidelines, nursing a fibula injury.


title: Nolito

text: On 18 June 2020, Nolito rejoined Celta on a reported one-year deal. His Sevilla contract was set to expire at the end of the month, and the former were granted an emergency exception to acquire him outside of the transfer window because of a long-term injury to goalkeeper Sergio Álvarez. Three days later, in his first game back, he came off the bench to assist Santi Mina and score a penalty in a 6–0 home thrashing of Alavés.


title: Nolito

text: Nolito did not earn a single cap for Spain at youth level. On 7 November 2014, he was called up by full side manager Vicente del Bosque for a UEFA Euro 2016 qualifier against Belarus and a friendly with Germany. He made his debut against the latter on the 18th, starting at his club ground of Balaídos in a 0–1 loss.


title: Nolito

text: On 17 May 2016, Nolito was named in the preliminary squad for the final tournament in France. Twelve days later, in a friendly against Bosnia and Herzegovina, he scored his first goals, striking twice in the first half of a 3–1 win in Switzerland. he repeated the feat the following match, a 6–1 rout of South Korea in Austria.


title: Nolito

text: Selected for the squad of 23, Nolito acted often as starter, scoring from close range in a 3–0 group stage victory over Turkey at the Stade de Nice and also assisting Álvaro Morata for the opener.


title: Mujhse Fraaandship Karoge

text: Mujhse Fraaandship Karoge () is a 2011 Indian Hindi romantic comedy film directed by debutante Nupur Asthana, starring debutant actors Saqib Saleem, Saba Azad, Tara D'Souza and Nishant Dahiya in the lead roles. The film is the second production of Y-Films, a subsidiary of Yash Raj Films. Loosely inspired from the 2001 Telugu film Anandam and the popular social networking site Facebook, it is written by lyricist Anvita Dutt Guptan with a screenplay by Rajesh Narasimhan, based on a story by Pooja Desai and producer Ashish Patil.


title: Mujhse Fraaandship Karoge

text: University students Vishal Bhatt (Saqib Saleem) and Preity Sen (Saba Azad) hate each other. Vishal's good looking best friend Rahul Sareen (Nishant Dahiya) is a singer and is pretty popular amongst the girls in their college. Vishal writes the lyrics for Rahul's songs but never takes any credit for it. Preity is the president of the Photography Club. Preity's good looking friend Malvika Kelkar (Tara D’Souza) is a fashion designing student. Malvika's parents live abroad leading to her stay with Preity and her mother Arunima. Rahul ignores a lot of friend requests from girls on social networking sites including Facebook and Malvika, similarly, ignores a lot of requests from guys.


title: Mujhse Fraaandship Karoge

text: Vishal likes Malvika and Preity likes Rahul. Vishal sends a friend request to Malvika through Rahul's account. Malvika, as usual, ignores the friend request (thinking Rahul is desperate because he sent her a request after only meeting once). Preity, after Malvika leaves, uses her account and accepts the friend request from Rahul. Vishal starts chatting to Malvika pretending to be Rahul. But, he is actually talking to Preity, who is pretending to be Malvika and thinking that she's talking to Rahul. Vishal and Preity are busted by their friends and they request their friends Rahul and Malvika to go on a date.


title: Mujhse Fraaandship Karoge

text: Rahul and Malvika start liking each other after seeing that they have a lot in common. They go on a double date, Malvika with Vishal and Preity with Rahul. The college is celebrating its silver jubilee. The theme for the festival is a photographic documentary (idea of Preity) of the romantic history of the college (idea of Vishal). Vishal and Preity have to work together, sorting their differences. They have a lot in common; they are both immature and bicker a lot. Slowly, after spending time together they both sort out their differences and gradually become friends. At Rahul's birthday party, Vishal finds Rahul kissing Malvika. On seeing this, an enraged Vishal tells Malvika that it was he who had chatted on Facebook with her and not Rahul. It is soon discovered that Preity, too, has overheard the conversation. This angers her, resulting in her telling him that it was not Malvika but her who chatted with him. She admits that she had fallen in love with him but Vishal is still angry at what he considers his friend Rahul's betrayal. At the college's Silver Jubilee festival, Vishal finally realizes his mistake and tells Preity that he loves her during the event on stage ending up in them kissing, celebrating the new generation of romance.


title: Mujhse Fraaandship Karoge

text: On 1 April 2011 the film was unveiled publicly as the second production venture of Y-Films and the cast of the film met the press along with the actors from Y-Films' other venture, "Luv Ka The End".


title: Mujhse Fraaandship Karoge

text: The film was positively received by most critics. Leading Bollywood portal Movie Talkies quoted "Y-Films' latest outing is a must watch. And with characters like Vishal, Preity and Hacky, who stay with you long after you've left the theatre hall, this is one 'fraaandship' request everyone should accept instantly!" and rated Mujhse Fraaandship Karoge with 3.5 stars. Popular Bollywood portal Glamsham gave the movie 3.5 stars. Fullhyd.com rated it 6 out of 10, stating, "You could watch it once if you're about 18, but those who're older will have to skip it."


title: Mujhse Fraaandship Karoge

text: Most of the film's music is composed by Raghu Dixit. Taran Adarsh of Bollywood Hungama gave the soundtrack three stars out of five and praised it for the variety Dixit brought in the five songs he composed. He also said the album has the kind of songs that should not be dependent upon the theatrical run of the movie and is expected to find listeners even after the movie releases.


title: Chin Peng

text: Chin Peng (21 October 1924 – 16 September 2013), born Ong Boon Hua, was a Malayan communist politician, anti-fascist activist and long-time leader of the Malayan Communist Party (MCP) and the Malayan National Liberation Army (MNLA).


title: Chin Peng

text: During World War II, he fought as an anti-fascist guerrilla fighter in the Malayan Peoples' Anti-Japanese Army against the Japanese occupation of Malaya. A determined anti-colonialist, he led the party's guerrilla insurgency in the Malayan Emergency (19481960), fighting against British and Commonwealth forces in an attempt to establish an independent socialist state. After the MCP's defeat and subsequent Malayan independence, Chin waged a second campaign (19681989) from exile against the newly formed government of Malaysia in an attempt to replace its government with a socialist one. This second insurgency came to an end with the Peace Agreement of Hat Yai 1989.


title: Chin Peng

text: Chin Peng died at the age of 88, in Bangkok, Thailand, where he was cremated according to Buddhist rites.


title: Chin Peng

text: Chin Peng was born Ong Boon Hua on 21 October 1924 into a middle-class family in the small seaside town of Sitiawan, in Perak state, Malaya. His ancestral home is Fuqing, Fujian, China. His father went to live in Sitiawan in 1920. He set up a bicycle, tire, and spare motor parts business with the help of a relative from Singapore, known as Ong Lock Cho.


title: Chin Peng

text: Chin Peng attended a Chinese language school in Sitiawan. In 1937 he joined the Chinese "Anti Enemy Backing Up Society" (AEBUS), formed that year to send aid to China in response to Japan's aggression. According to Chin and Hack, he was not a communist then. He was in charge of anti-Japanese activities at his school, and was reportedly a supporter of Sun Yat-sen. By early 1939, he had embraced Communism. He planned to go to Yan'an, the renowned communist base in China but was persuaded to remain in Malaya and take on heavier responsibilities in the newly formed Malayan Communist Party.


title: Chin Peng

text: In late 1939, when Chin Peng was in the 4th year of his secondary school education (known as senior middle-level one), his school announced that the senior middle section was to be closed due to lack of funds. He decided to continue his education in the Methodist-run Anglo-Chinese Continuation School, which operated in English, because it provided a good cover for his underground activities. He did not want to have to move to Singapore to continue with his education in Chinese. He left the school "for fear of British harassment" after just 6 months.


title: Chin Peng

text: He was now focused fully on his political activities and became, from that point on, a full-time revolutionary. In January 1940 he was put in charge of three anti-Japanese organisations that were targeting students, teachers, members of cultural activities, and general labourers. At the end of January 1940, he was admitted to the Malayan Communist Party as a member.


title: Chin Peng

text: Harassment by the authorities led him to leave his home town for Kuala Kangsar in July 1940. (This may be at the time when he left his school, refer to above). Later he spent a month in Taiping. In September 1940 the party posted him to Ipoh as a Standing committee member for Perak. In December he attained full Party membership.


title: Chin Peng

text: In early 1941 AEBUS was dissolved. Chin Peng became Ipoh District committee member of the Party. "He led student underground cells of three Chinese secondary schools and the Party's organisations of the shop assistants, domestic servants of European families, workers at brick kilns and barbers."


title: Chin Peng

text: Chin Peng rose to prominence during World War II when many Chinese Malayans took to the jungle to fight a guerrilla war against the Japanese. These fighters, inspired by the example of the Communist Party of China, became known as the Malayan People's Anti-Japanese Army (MPAJA). Chin Peng became the liaison officer between the MPAJA and the British military in South-East Asia.


title: Chin Peng

text: The Japanese invasion of Malaya began in December 1941. In 1942 Chin was the youngest of three members of the Secretariat of the Perak State Committee: Su Yew Meng was secretary and Chang Meng Ching was the other member. In early 1943 the two senior members were captured by the Japanese, which left Chin Peng in charge. Contact with the Party's Central Committee had been lost; he attempted to re-establish it, travelling to Kuala Lumpur and meeting Chai Ker Meng. Later, party leader Lai Tek sent another Central Committee member, Lee Siow Peng (Siao Ping), to replace Chin as State Secretary. However, Lee Siow Peng was captured not long after while travelling to a meeting that was to be held in Singapore.


title: Chin Peng

text: Thus the job of establishing contact with the British commando Force 136 fell to Chin Peng. The first party of that force, consisting of Capt. John Davis and five Chinese agents had landed in Malaya on 24 May 1943, by submarine. Chin Peng made contact with this armed group on 30 September 1943. He was active in his support for the British stay-behind troops but had no illusions about their failure to protect Malaya against the Japanese. In the course of this activity, he came into contact with Freddie Spencer Chapman, who called him a 'true friend' in his Malayan jungle memoir, 'The Jungle Is Neutral'.


title: Chin Peng

text: In recognition of his service during the war, Chin was awarded an OBE (though it was subsequently withdrawn later by the British government), a mention in despatches and two campaign medals by Britain. He was elected the Secretary-General of the Communist Party of Malaya after the betrayal of previous leader Lai Tek, who had turned out to be an agent for both the British and the Japanese and had denounced the leadership of the Party to the Japanese secret police. Chin Peng was the most senior surviving member.


title: Chin Peng

text: In 1948, the Federation of Malaya Plan replaced the Malayan Union plan, frustrating the CPM as they felt the plan was undemocratic and biased towards the Malay elites. They accused the British of forcing the Federation idea on the people by portraying it as a constitutional solution to Malaya's crisis. According to Chin, the central committee still adhered to Lai Teck's peace struggle strategy in facing the Federation, as they thought that the people of Malaya were still recovering from the horrors of the Japanese Occupation. To launch an armed rebellion so soon would not only cause them to lose the mass support they had been enjoying but, at the same time, also drive the already wary Malays to openly resist them.


title: Chin Peng

text: Some scholars allege that the CPM received secret directives from Moscow agents on the methods and timing for a near-simultaneous uprising against colonial authorities during the Southeast Asian Youth Conference held in Calcutta on 19 February 1948 which eventually caused the CPM's insurrection. Chin denied it, stating that the conference argued against such a move. Laurence Sharkey, party secretary of the Australian Communist Party, informed Chin and the central committee of the conference's decision while stopping over in Singapore on his way home. In March 1948, the central committees were discussing new policies as the labour strikes were not bringing the results that they hoped for. Chin Peng estimated it would be a year or two before the British took actions against the CPM, leaving them ample time to prepare for a guerrilla war.