title: Lucky: No Time for Love

text: Lucky Negi is the daughter of Mr. Negi who works for Mr. Sekhri, the Indian Ambassador to Russia who has a son named Aditya. Lucky is a quiet, yet studious girl and lives with her parents as well as younger sister.


title: Lucky: No Time for Love

text: One day, while going to school, Lucky's bicycle tire goes flat and she ends up being the victim of an attempted rape by a young Russian. She manages to escape and hides in a parked car while the rapist is chased away by the car's owner, Aditya. Unaware of his "cargo", Aditya drives the car to meet his father until he is stopped at a check-post. That's when he discovers Lucky sitting in the back seat. During the checking, a terrorist attack occurs and utter chaos ensues. Aditya and Lucky manage to escape and hide in an isolated graveyard. Meanwhile, Sekhri and Negi recruit a private investigator, retired Colonel Pindi Das Kapoor, to locate their children. Just as Colonel Kapoor finds the graveyard, Aditya is forced to leave with Lucky when she accidentally drinks water poisoned by the terrorists. Aditya then manages to persuade a local doctor to take him and Lucky in, where she receives treatment. When the two eventually leave the doctor under pressing circumstances, a series of events ensues as they struggle to return to their families. Aditya and Lucky soon fall in love and are finally found by the Colonel, upon which they reunite with their families and get ready to fly back to India. Upon reaching the airport, the Colonel promises to return Aditya's car to him by ship, while Aditya and Lucky bid farewell to Russia and the Colonel.


title: Lucky: No Time for Love

text: According to the Indian trade website Box Office India, with around 18,00,000 units sold, this film's soundtrack album was the year's fifth highest-selling.


title: Image scaling

text: In computer graphics and digital imaging, image scaling refers to the resizing of a digital image. In video technology, the magnification of digital material is known as upscaling or resolution enhancement.


title: Image scaling

text: When scaling a vector graphic image, the graphic primitives that make up the image can be scaled using geometric transformations, with no loss of image quality. When scaling a raster graphics image, a new image with a higher or lower number of pixels must be generated. In the case of decreasing the pixel number (scaling down) this usually results in a visible quality loss. From the standpoint of digital signal processing, the scaling of raster graphics is a two-dimensional example of sample-rate conversion, the conversion of a discrete signal from a sampling rate (in this case the local sampling rate) to another.


title: Image scaling

text: Image scaling can be interpreted as a form of image resampling or image reconstruction from the view of the Nyquist sampling theorem. According to the theorem, downsampling to a smaller image from a higher-resolution original can only be carried out after applying a suitable 2D anti-aliasing filter to prevent aliasing artifacts. The image is reduced to the information that can be carried by the smaller image.


title: Image scaling

text: A more sophisticated approach to upscaling treats the problem as an inverse problem, solving the question of generating a plausible image, which, when scaled down, would look like the input image. A variety of techniques have been applied for this, including optimization techniques with regularization terms and the use of machine learning from examples.


title: Image scaling

text: One of the simpler ways of increasing image size is nearest-neighbor interpolation, replacing every pixel with the nearest pixel in the output; for upscaling this means multiple pixels of the same color will be present. This can preserve sharp details in pixel art, but also introduce jaggedness in previously smooth images. 'Nearest' in nearest-neighbor doesn't have to be the mathematical nearest. One common implementation is to always round towards zero. Rounding this way produces fewer artifacts and is faster to calculate.


title: Image scaling

text: Bilinear interpolation works by interpolating pixel color values, introducing a continuous transition into the output even where the original material has discrete transitions. Although this is desirable for continuous-tone images, this algorithm reduces contrast (sharp edges) in a way that may be undesirable for line art. Bicubic interpolation yields substantially better results, with an increase in computational cost.


title: Image scaling

text: Sinc resampling in theory provides the best possible reconstruction for a perfectly bandlimited signal. In practice, the assumptions behind sinc resampling are not completely met by real-world digital images. Lanczos resampling, an approximation to the sinc method, yields better results. Bicubic interpolation can be regarded as a computationally efficient approximation to Lanczos resampling.


title: Image scaling

text: One weakness of bilinear, bicubic and related algorithms is that they sample a specific number of pixels. When down scaling below a certain threshold, such as more than twice for all bi-sampling algorithms, the algorithms will sample non-adjacent pixels, which results in both losing data, and causes rough results.


title: Image scaling

text: The trivial solution to this issue is box sampling, which is to consider the target pixel a box on the original image, and sample all pixels inside the box. This ensures that all input pixels contribute to the output. The major weakness of this algorithm is that it is hard to optimize.


title: Image scaling

text: Another solution to the downscale problem of bi-sampling scaling are mipmaps. A mipmap is a prescaled set of downscale copies. When downscaling the nearest larger mipmap is used as the origin, to ensure no scaling below the useful threshold of bilinear scaling is used. This algorithm is fast, and easy to optimize. It is standard in many frameworks such as OpenGL. The cost is using more image memory, exactly one third more in the standard implementation.


title: Image scaling

text: Simple interpolation based on Fourier transform pads the frequency domain with zero components (a smooth window-based approach would reduce the ringing). Besides the good conservation (or recovery) of details, notable is the ringing and the circular bleeding of content from the left border to right border (and the other way around).


title: Image scaling

text: Edge-directed interpolation algorithms aim to preserve edges in the image after scaling, unlike other algorithms, which can introduce staircase artifacts.


title: Image scaling

text: Examples of algorithms for this task include New Edge-Directed Interpolation (NEDI), Edge-Guided Image Interpolation (EGGI), Iterative Curvature-Based Interpolation (ICBI), and Directional Cubic Convolution Interpolation (DCCI). A 2013 analysis found that DCCI had the best scores in PSNR and SSIM on a series of test images.


title: Image scaling

text: For magnifying computer graphics with low resolution and/or few colors (usually from 2 to 256 colors), better results can be achieved by hqx or other pixel-art scaling algorithms. These produce sharp edges and maintain high level of detail.


title: Image scaling

text: Vector extraction, or vectorization, offer another approach. Vectorization first creates a resolution-independent vector representation of the graphic to be scaled. Then the resolution-independent version is rendered as a raster image at the desired resolution. This technique is used by Adobe Illustrator, Live Trace, and Inkscape. Scalable Vector Graphics are well suited to simple geometric images, while photographs do not fare well with vectorization due to their complexity.


title: Image scaling

text: This method uses machine learning for more detailed images such as photographs and complex artwork. Programs that use this method include waifu2x, Imglarger and Neural Enhance.


title: Image scaling

text: Image scaling is used in, among other applications, web browsers, image editors, image and file viewers, software magnifiers, digital zoom, the process of generating thumbnail images and when outputting images through screens or printers.


title: Image scaling

text: This application is the magnification of images for home theaters for HDTV-ready output devices from PAL-Resolution content, for example from a DVD player. Upscaling is performed in real time, and the output signal is not saved.


title: Image scaling

text: As pixel-art graphics are usually low-resolution, they rely on careful placing of individual pixels, often with a limited palette of colors. This results in graphics that rely on stylized visual cues to define complex shapes with little resolution, down to individual pixels. This makes scaling of pixel art a particularly difficult problem.


title: Image scaling

text: Specialized algorithms were developed to handle pixel-art graphics, as the traditional scaling algorithms do not take perceptual cues into account.


title: Image scaling

text: Since a typical application is to improve the appearance of fourth-generation and earlier video games on arcade and console emulators, many are designed to run in real time for small input images at 60 frames per second.


title: Image scaling

text: On fast hardware, these algorithms are suitable for gaming and other real-time image processing. These algorithms provide sharp, crisp graphics, while minimizing blur. Scaling art algorithms have been implemented in a wide range of emulators such as HqMAME and DOSBox, as well as 2D game engines and game engine recreations such as ScummVM. They gained recognition with gamers, for whom these technologies encouraged a revival of 1980s and 1990s gaming experiences.


title: Image scaling

text: Such filters are currently used in commercial emulators on Xbox Live, Virtual Console, and PSN to allow classic low-resolution games to be more visually appealing on modern HD displays. Recently released games that incorporate these filters include "Sonic's Ultimate Genesis Collection", "", "", and "Akumajō Dracula X Chi no Rondo".


title: Image scaling

text: A number of companies have developed techniques to upscale video frames in real-time, such as when they are drawn on screen in a video game. Nvidia's deep learning super sampling (DLSS) uses deep learning to upsample lower-resolution images to a higher resolution for display on higher-resolution computer monitors. AMD's FidelityFX Super Resolution 1.0 (FSR) does not employ machine learning, instead using traditional hand-written algorithms to achieve spatial upscaling on traditional shading units. FSR 2.0 utilises temporal upscaling, again with a hand-tuned algorithm. FSR standardized presets are not enforced, and some titles such as "Dota 2" offer resolution sliders. Other technologies include Intel XeSS and Nvidia Image Scaler (NIS).


title: Languages of Bangladesh

text: The national language and official language of Bangladesh is Bengali according to the third article of the Constitution of Bangladesh. The second most spoken language in Bangladesh is claimed to be Burmese which is spoken by the Marma tribe in Chittagong Hill districts as the districts border Myanmar; it is also spoken by the Rohingya people. 98% of Bangladeshis are fluent in Bengali (including dialects) as their first language. Bengali Language Implementation Act, 1987 made it mandatory to use Bengali in all government affairs except in the cases of foreign relations.


title: Languages of Bangladesh

text: According to a 2011 census, Bengali is predominantly spoken by 98% of the country's population and it also serves as the national language of the nation. The indigenous people of northern and southeastern Bangladesh speak a variety of native languages.


title: Languages of Bangladesh

text: The lowlands of Bangladesh form the larger, central, and eastern half of the ethno-linguistic region of Bengal and the Bengali language is spoken by the majority of the country's inhabitants i.e. the Bengalis. There are also some Eastern Indic language varieties, which are variously classified either as dialects of Bengali or separate but closely related languages. They can be thought of as forming a dialect continuum.


title: Languages of Bangladesh

text: The indigenous languages of the region are members of the Austroasiatic, Dravidian and Tibeto-Burman families. Most of these languages are spoken in mountainous areas.


title: Languages of Bangladesh

text: While the more widely spoken and better-known Austroasiatic languages are spoken in Southeast Asia (e.g. Khmer and Vietnamese), smaller languages of that family are spoken by indigenous communities of northern and eastern Bangladesh. There are two branches of Austro-Asiatic represented in Bangladesh.


title: Languages of Bangladesh

text: The mountainous areas along the northern and eastern edges of the Indian Subcontinent are inhabited primarily by speakers of Tibeto-Burman languages. Indigenous Tibeto-Burman-speaking communities are found through the northern, eastern, and especially the southeastern parts of Bangladesh, primarily the Chittagong Hill Tracts.


title: Languages of Bangladesh

text: Before the commencement of the Bengali Language Implementation Act, 1987, English had a considerable presence in official affairs, but since 1987 the usage of English has waned significantly in government. Due to the British colonization of the country, English is still a widely spoken and commonly understood language in Bangladesh. English is taught as a compulsory subject in all schools, colleges and universities. In addition, there is an English-medium education system in Bangladesh which is widely attended. The British Council Bangladesh offers English language courses.


title: Languages of Bangladesh

text: Similar to the situation in other SAARC nations, there are significant disparities in English-language knowledge; a significant portion of the population speaks English fluently or even natively (especially among the educated class), while an even larger portion of the population has little to no knowledge of English. Among the middle and upper class, many can read and write fluently due to professional requirements, but may have difficulty speaking English.


title: Languages of Bangladesh

text: During the colonial period, laws were written in English. Currently, most laws are written in Bengali, the exception being amendments to laws passed before 1987, which are generally written in English. Many legal, administrative, and financial forms used by the government and banks are in English only. English is also used in the judiciary.


title: Languages of Bangladesh

text: Since the conquest of Bengal by Muhammad Bakhtiyar Khalji in 1203 CE, Arabic () enjoyed the status of being an official language up until the British Raj period. However, its presence dates back to the 8th century CE, as a language of trade. In the 13th century, Muslim preacher Taqiuddin al-Arabi established what is thought to be the earliest Islamic institution in Bangladesh that has intact ruins. Arabic literature began to flourish first in medieval Bengal with works like (12th century) by Qadi Ruknuddin Samarkandi, by Abu Tawwama, (1280s) by Kamiluddin bin Karim as well as the many works of 14th-century Bengali scholar Nur Qutb Alam. Islamic scholar Muhammad ibn Yazdan Bakhsh Bengali transcribed three volumes of Sahih al-Bukhari by hand in Ekdala, and gifted it to the Sultan Alauddin Husain Shah. The manuscript of this work is currently kept at the Khuda Bakhsh Oriental Library in the neighbouring Republic of India. Until today, Arabic literature relating to Islam continues to be regularly written and published by Bangladeshis such as Sultan Zauq Nadvi and Muhammad Abdul Malek.


title: Languages of Bangladesh

text: Despite losing an official status from the colonial times onward, the Arabic language is used in many Muslim congregations such as the weekly Friday prayer in which a sermon (khutbah) is given in Arabic, in addition to Bengali. The Constitution of Bangladesh begins with the Arabic phrase بِسْمِ اللهِ الرَّحْمٰنِ الرَّحِيْمِ which is translated as “In the name of Allah, the Beneficent, the Merciful”.


title: Languages of Bangladesh

text: Arabic is the religious language of Muslims. The Quran, Sunnah, Hadith and Muslim theology is taught in Arabic with Bengali translation. The Bangladeshi diaspora living in the Middle East has further increased the number of people who can speak Arabic in Bangladesh. Arabic is taught as a religious language in mosques, schools, colleges, universities and madrassahs as well as in tradition Bengali Muslim households. Today, Arabic is an obligatory subject in the Madrasah education of Bangladesh. A majority of Bangladesh's Muslim population has had some form of formal or informal education in the reading, writing, and pronunciation of the Arabic language as part of their religious education. Arabic has also influenced the Bengali language greatly, thus it is not uncommon to hear Arabic terminology in Bangladeshi speeches and rallies. One example of this is the 7 March Speech of Bangabandhu, which makes mention of "Inshallah" ('God-willing') towards the end, in addition to the many Arabic-origin Bengali words used.


title: Languages of Bangladesh

text: From ancient times, Bengal and Persia had been in contact with each other and there were many trading posts around coastal Bengal. As people converted to Islam, they became acquainted with Persian, the language of the Sufi preachers. Bengal witnessed an influx of Persian scholars, lawyers, teachers and clerics. The influence of the language spread rapidly after it gained the status of court language for over 600 years (1203–1837 AD) under the Delhi Sultanate, Bengal Sultanate and Bengal Subah. Thousands of Persian books and manuscripts were published in Bengal. The period of Sultan Ghiyathuddin Azam Shah's reign is described as the "golden age of Persian literature in Bengal". Its stature was illustrated by the Sultan's own correspondence and collaboration with the Persian poet Hafez; a poem which can be found in the "Divan of Hafez" today.


title: Languages of Bangladesh

text: Presently, Persian is taught in some madrasas, mostly those belonging to the Befaqul Madarisil Arabia Bangladesh board, as well as at the University of Dhaka.


title: Languages of Bangladesh

text: Dobhashi refers to a historical register of Bengali with significant Persian influence, similar to the influence of Persian on Urdu.


title: Languages of Bangladesh

text: Urdu (اردو) was an official language in post-partition 1947 to 1971. It is still spoken by the settlers from Bihar and Uttar Pradesh. They are living in Saidpur, Dhaka particularly Old Dhaka, and other parts of Bangladesh.


title: Papa Smurf

text: Papa Smurf is one of the protagonists from the comic strip the Smurfs. Most Smurfs are said to be about 100 years old, but at the advanced age of 546 (553 in the 1980s series episode "The Littlest Giant"), Papa is the oldest Smurf and the leader of all Smurfs. Despite his age, he is still quite energetic. Easily distinguishable from all the other Smurfs, Papa Smurf has a bushy white mustache and beard and is typically dressed in red pants and a matching red Phrygian cap, making him the only Smurf who does not wear white. He was introduced in Peyo's 1958 Johan and Peewit story "La Flûte à Six Trous", the first appearance of the Smurfs.


title: Papa Smurf

text: Don Messick provided Papa Smurf's voice for the 1980s animated series as well as the special "Cartoon All-Stars to the Rescue". Jonathan Winters, who voiced Grandpa Smurf on the animated series, was Papa Smurf's voice for the 2011 film and its 2013 sequel, with the latter being Winters' last film before his death. On "" and "", Papa Smurf is voiced by Jack Angel. Mandy Patinkin voiced Papa Smurf in the animated film "". David Freeman voices Papa Smurf in the 2021 "Smurfs reboot."


title: Papa Smurf

text: In the original French version, Papa Smurf's name is "Le Grand Schtroumpf” which means "the Great Smurf" or "the Big Smurf."


title: Papa Smurf

text: Papa Smurf debuted in 1958 and is a gentle, humble, and knowledgeable village elder. As the Smurfs' leader, Papa is a central fatherlike figure that the Smurfs typically go to when seeking counsel. Due to his fatherly nature, Papa Smurf is always concerned about the Smurfs’ welfare and harmony. He is very altruistic and is always available to help anybody, whether Smurf or human. His great diplomatic skills are used when encountering humans or other creatures in the forest.


title: Papa Smurf

text: Papa Smurf's birth date was June 15, 1465 in Smurfs village because in the 2011 film, he claims that he is 546 years old.


title: Papa Smurf

text: In the original comic books by Peyo, Papa Smurf has a much more forceful personality than in other portrayals. He is often portrayed in these comics as cantankerous and irritable leader. In these comics, Papa has little patience and becomes easily angry with the Smurfs for being disobedient or making mistakes.


title: Papa Smurf

text: Papa Smurf's duty is to ensure that all the Smurfs of the village get along and respect each other. When real chaos arises, Papa Smurf usually resorts to drastic measures, often through the use of magic. For example, Papa switched bodies with the antagonist Gargamel in order to pretend to attack the village ("Smurf Versus Smurf" comic adventure/"Romeo and Smurfette" TV episode). In another instance, he creates an entire village full of evil doubles of the original Smurfs ("The Smurf Menace" issue).


title: Papa Smurf

text: While Papa Smurf sometimes prefers to not have to constantly fix problems, he realizes that it is his calling. He once said that since he may not be able to be the village leader forever, every Smurf should have a brief experience of commanding the village. To do so, Papa handed over his signature red hat, allowing each Smurf the chance to direct others on a construction project. The Smurfs were then referred to as "Papa Greedy", "Papa Clumsy" or "Mama Smurfette," depending on whose turn it was to be the village leader. While Papa did see the importance of each Smurf gaining leadership skills, his true purpose was to guide the Smurfs and help fix their problems and mistakes.


title: Papa Smurf

text: When he is not actively acting as the leader or helping other Smurfs, Papa Smurf indulges in his favorite hobby: magical chemistry, or alchemy. He often makes elixirs to help Smurfs who get into trouble. The Belgian comic portrays Papa Smurf constantly preparing magical drinks from white hellebore. The drawings that portray the effects of these alchemical brews are shown as both turbulent and amusing. Aside from his house, he also has a laboratory containing several chemical devices. Papa Smurf often tries to create potions to help the Smurfs but sometimes fails; such as the time he accidentally created a substance that turned any living thing into a huge monster (see the album: The Smurfs and the Cracoucass and the cartoon episode "The Smurfs and the Howlibird"). He occasionally leaves the village in order to obtain the necessary ingredients for his potions.


title: Run batted in

text: A run batted in (RBI; plural RBIs ) is a statistic in baseball and softball that credits a batter for making a play that allows a run to be scored (except in certain situations such as when an error is made on the play). For example, if the batter bats a base hit which allows a teammate on a higher base to reach home and so score a run, then the batter gets credited with an RBI.


title: Run batted in

text: Before the 1920 Major League Baseball season, runs batted in were not an official baseball statistic. Nevertheless, the RBI statistic was tabulated—unofficially—from 1907 through 1919 by baseball writer Ernie Lanigan, according to the Society for American Baseball Research.


title: Run batted in

text: Common nicknames for an RBI include "ribby" (or "ribbie"), "rib", and "ribeye". The plural of "RBI" is a matter of "(very) minor controversy" for baseball fans: it is usually "RBIs", in accordance with the usual practice for pluralizing initialisms in English; however, some sources use "RBI" as the plural, on the basis that it can stand for "runs batted in".


title: Run batted in

text: The 2018 edition of the Official Baseball Rules of Major League Baseball (MLB), Rule 9.04 Runs Batted In, reads:


title: Run batted in

text: The perceived significance of the RBI is displayed by the fact that it is one of the three categories that compose the triple crown. In addition, career RBIs are often cited in debates over who should be elected to the Hall of Fame. However, critics, particularly within the field of sabermetrics, argue that RBIs measure the quality of the lineup more than it does the player himself. This is because an RBI can only be credited to a player if one or more batters preceding him in the batting order have reached base (the exception to this being a home run, in which the batter is credited with driving himself in, not just those already on base). This implies that better offensive teams —and therefore, the teams in which the most players get on base— tend to produce hitters with higher RBI totals than equivalent hitters on lesser-hitting teams.


title: The Rolling Stones Rock and Roll Circus

text: The Rolling Stones Rock and Roll Circus was a concert show organised by the Rolling Stones on 11–12 December 1968. The show was filmed on a makeshift circus stage with Jethro Tull, The Who, Taj Mahal, Marianne Faithfull, and The Rolling Stones. John Lennon and his fiancee Yoko Ono also performed as part of a one-shot supergroup called The Dirty Mac, featuring Eric Clapton, Mitch Mitchell (also part of The Jimi Hendrix Experience), and Keith Richards.


title: The Rolling Stones Rock and Roll Circus

text: The original idea for the concert was going to include the Small Faces, the Rolling Stones, and the Who, and the concept of a circus was first thought up between Mick Jagger, Pete Townshend, and Ronnie Lane. It was meant to be aired on the BBC, but instead the Rolling Stones withheld it. The Rolling Stones contended they did so because of their substandard performance, clearly exhausted after 15 hours of recording (and some indulgence in drugs). It was Brian Jones' last appearance with the Rolling Stones; he drowned some seven months later while the film was being edited. Some speculate that another reason for not releasing the film was that the Who, who were fresh off a concert tour, seemingly upstaged the Stones on their own production. The show was not released commercially until October 1996.


title: The Rolling Stones Rock and Roll Circus

text: The project was originally conceived by Mick Jagger as a way to promote the new record "Beggars Banquet" beside conventional press and concert appearances. Jagger approached Michael Lindsay-Hogg, who had directed two promos for Rolling Stones songs (and would go on to direct the Beatles' "Let It Be" documentary), to make a full-length TV show for them. According to Lindsay-Hogg, the idea of combining rock music and a circus setting came to him when he was trying to come up with ideas; he drew a circle on a piece of paper and free-associated.


title: The Rolling Stones Rock and Roll Circus

text: The Rolling Stones and their guests performed in a replica of a seedy big top on a British sound stage—the Intertel (V.T.R. Services) Studio, Wycombe Road, Wembley—in front of an invited audience. The performances began at around 2 pm on 11 December 1968, but setting up between acts and reloading cameras took longer than planned, which meant that the final performances took place at almost 5 o'clock in the morning on the 12th.


title: The Rolling Stones Rock and Roll Circus

text: By that time the audience and most of the Rolling Stones were exhausted. It was only due to Jagger's sheer enthusiasm and stamina that they kept going until the end. Regardless, Jagger was reportedly so disappointed with his and the band's performance that he cancelled the airing of the film, and kept it from public view. Pete Townshend recalled:


title: The Rolling Stones Rock and Roll Circus

text: This was the last public performance of Brian Jones with the Rolling Stones, and for much of the Stones performance he is inaudible, although his slide guitar on "No Expectations", maracas on "Sympathy for the Devil", and rhythm guitar on "Jumpin' Jack Flash" remain clear. Ian Anderson remarked:


title: The Rolling Stones Rock and Roll Circus

text: The last song, "Salt of the Earth", was sung live by Keith Richards and Mick Jagger to the pre-recorded tape from the "Beggars Banquet" studio album on which the song had been released.


title: The Rolling Stones Rock and Roll Circus

text: According to Bill Wyman's book, "Rolling with the Stones", the Rolling Stones also performed "Confessing the Blues", "Route 66" and an alternative take of "Sympathy for the Devil" with Brian Jones on guitar. Nicky Hopkins supplemented the Rolling Stones on piano.


title: The Rolling Stones Rock and Roll Circus

text: The project was abandoned until director Michael Lindsay-Hogg attempted to edit the film in 1992 but, due to missing principal footage, the project was put on hold. Some of the footage of the concert was thought to be lost or destroyed until 1993, when it was discovered in a bin in the Who's private film vault by the director/producer team Michael Gochanour and Robin Klein. Subsequent to their discovery, Gochanour and Klein completed the unfinished film in autumn 1996.


title: The Rolling Stones Rock and Roll Circus

text: A significant segment, featuring the Who, had been shown theatrically in the documentary "The Kids Are Alright" (1979), the only public viewing of the film until its eventual release. The Rolling Stones' film was restored, edited and finally released on CD and video in 1996. Included on the recordings are the introductions for each act, including some entertaining banter between Jagger and Lennon.


title: The Rolling Stones Rock and Roll Circus

text: This concert is the only footage of Black Sabbath guitarist Tony Iommi performing as a member of Jethro Tull, during his brief two-week tenure as a replacement for Mick Abrahams. Coincidentally this is also the first live footage of Jethro Tull ever made; no footage of the original line-up with Abrahams (December 1967 – December 1968) is known to exist. The band mimed to the album version of "A Song for Jeffrey" and "Fat Man," so the guitar heard is actually Abrahams, and not Iommi, who may not have known his part sufficiently after only a few days in the band. The Rolling Stones forced them to cut their rehearsal time short, although Ian Anderson sings and plays flute live on "A Song For Jeffrey". "Fat Man" never made the final release, although it is not unreasonable to assume he also sang that live, as the released version (which appears on "Stand Up") was not recorded until four months later. Finally, the footage shows Ian Anderson's first clumsy attempts at his now famous flute-playing position of standing on one leg.


title: The Rolling Stones Rock and Roll Circus

text: In a 1996 review, Janet Maslin lauded the "sleek young Stones in all their insolent glory presiding over this uneven but ripely nostalgic show"; although "rumor had it that the Stones... thought they looked tired and felt upstaged by the high-energy Who", "it hardly looks that way as Mick Jagger's fabulous performance nearly turns this into a one-man show". She called Jethro Tull's performance a "shaky start" by "arguably the most unbearable band of their day", said The Who "turn up early and stop traffic, delivering a fiery [performance]", and notes Yoko Ono's "glass-shattering shrieks" are "dutifully" backed by the Dirty Mac. She calls the concert-ending sing-along of "Salt of the Earth" smug and condescending, a "song about little people living in the real world".


title: The Rolling Stones Rock and Roll Circus

text: The film was premiered on 12 October 1996 at the Walter Reade Theater as part of the New York Film Festival.


title: The Rolling Stones Rock and Roll Circus

text: In March 2019, it was announced that the film would be receiving a limited theatrical release in Dolby Cinema in early April, as the first concert film was due to be remastered with Dolby's Atmos and Vision, in conjunction with what was still then the ongoing North American leg of the Rolling Stones' No Filter Tour (before it was later postponed). Indeed, a limited U.S. remastered theatrical release of the film ran during the first week of April 2019.


title: The Rolling Stones Rock and Roll Circus

text: "The Rolling Stones Rock and Roll Circus" was released in October 1996 on VHS and laserdisc following two days of screenings at the Walter Reade Theater as part of the New York Film Festival.


title: The Rolling Stones Rock and Roll Circus

text: A DVD version, produced by Gochanour and Klein, was released in October 2004, with audio remixed into Dolby Surround by Gochanour and co-producer Klein. The DVD includes footage of the show, along with extra features directed by Gochanour and Klein, which include previously "lost" performances, an interview with Pete Townshend, and three audio commentaries. Of particular interest in the Townshend interview is his description of the genesis of the Circus project, which he claims was initially meant to involve the performers travelling across the United States via train (a concept used for a short concert series in Canada that was later documented in the feature film "Festival Express"). The remastered DVD also includes a special four-camera view of The Dirty Mac's performance of The Beatles' "Yer Blues" (showing Yoko Ono kneeling on the floor in front of the musicians, completely covered in a black sheet).


title: Street Fighter Alpha

text: Street Fighter Alpha: Warriors' Dreams, known as in Japan, Asia, South America, and Oceania, is a 2D arcade fighting game by Capcom originally released in 1995 for the CP System II hardware. It was the first all new "Street Fighter" game produced by Capcom since the release of "Street Fighter II" in 1991. The working title for the game was "Street Fighter Legends".


title: Street Fighter Alpha

text: The game introduces several new features, expanding on the Super Combo system previously featured in "Super Street Fighter II Turbo", with graphics drawn in a similar art style to the one Capcom employed in "Darkstalkers" and "". The plot of "Street Fighter Alpha" is set after the original "Street Fighter" but before "Street Fighter II" and thus the game features younger versions of established characters, as well as characters from the original "Street Fighter" and "Final Fight", and a few who are new to the series.


title: Street Fighter Alpha

text: "Street Fighter Alpha" revamps the Super Combo system introduced in "Super Street Fighter II Turbo" by adding a three-level Super Combo gauge. Like in "Super Turbo", the Super Combo gauge fills in as the player performs regular and special techniques. When the gauge reaches Level 1 or higher, the player can perform a Super Combo technique. The number of punch or kick buttons pressed simultaneously when performing a Super Combo determines the amount that will be used. In addition to Super Combos, the player can also perform a special counterattacking technique called an Alpha Counter (Zero Counter in the Japanese version) after blocking an opponent's attack, which consumes a level of the Super Combo Gauge.


title: Street Fighter Alpha

text: There are two playing styles that can be selected after choosing a character: "Normal" and "Auto". Auto differs from Normal in that the character automatically guards against a limited number of attacks (provided the character is not in the middle of performing an attack). Auto also allows the player to perform an instant Super Combo by pressing a punch and kick of the same strength simultaneously, but at the expense of reducing the maximum level of the Super Combo gauge to one.


title: Street Fighter Alpha

text: There are also new basic techniques such as Air Blocking, the ability to guard in mid-air, and Chain Combos (also known as Alpha Combos, or Zero Combos in Japan), which are combos that are performed by interrupting the animation of one basic move by performing another of equal or greater strength. In addition to recovering from an opponent's throw, the player also has the ability to roll on the ground when they fall to the ground after an attack.


title: Street Fighter Alpha

text: The single player mode consists of seven random computer-controlled opponents and a final opponent whose identity depends on the storyline of the player's selected character. M. Bison is the final boss for half of the characters. There are also two hidden characters: Akuma, who returns from "Super Turbo" as an alternate final boss only after certain in-game requirements are met, and a new character named Dan (a popular Capcom spoof character), who challenges the player during the course of the game if certain requirements are met.


title: Street Fighter Alpha

text: The game also features a secret two-on-one Dramatic Battle mode in which two players as Ryu and Ken fight against a computer-controlled M. Bison, a match inspired by the final fight between the characters in "" (the Japanese arcade version of the game plays an instrumental rendition of the movie's battle theme, "Itoshisato Setsunasato Kokorozuyosato", which was replaced by M. Bisons regular theme in the overseas releases).


title: Street Fighter Alpha

text: The immediate character roster includes Ryu, Ken, Chun-Li and Sagat from the "Street Fighter II" series, along with Birdie and Adon (Sagat's former apprentice) from the original "Street Fighter", who make their first appearances as playable characters in this game. Guy, one of the main playable characters from "Final Fight", also appears along with Sodom, a boss character from the same game. New to the series are Charlie, Guile's combat buddy who uses the same special techniques, and Rose, an Italian female fortune teller who uses an energy known as "Soul Power".


title: Street Fighter Alpha

text: In addition to the ten regular characters, there are also three boss characters in the game. "Street Fighter II" antagonist M. Bison appears as a final opponent for many of the characters in the single-player mode, while Akuma from "Super Street Fighter II Turbo" once again appears as a secret final opponent. Another secret character, Dan, Capcom's parody of SNK characters Ryo Sakazaki and Robert Garcia, makes his first appearance in this game. All three characters can be selected by the player by inputting a specific code for each.


title: Street Fighter Alpha

text: Game production for the game started in October, 1994, after the release of "". The development team was given only 3 months to complete a game from scratch, but ended up completing development six months after production started.


title: Street Fighter Alpha

text: Prototype name started as Street Fighter Classic, since it was meant to take place between "Street Fighter" and "Street Fighter II", and because in early development, it was meant to be ported to the Super Famicom, and would ended up sharing the same initials ('SFC'). The name eventually changed to "Street Fighter Zero", as it would stand to an origin point. Capcom Public Relations in North America disliked the name, as it sounded much negative, so it was renamed it to "Street Fighter Alpha" in western territories (except Brazil), to sound more like a new beginning.


title: Street Fighter Alpha

text: A slightly downgraded version of "Street Fighter Alpha" was also released for Capcom's older CPS I arcade board. This was done because Capcom feared that some arcades would not be willing to upgrade to the CPS II board. This version features a different soundtrack with less sound effects.


title: Street Fighter Alpha

text: Due to the small amount of character animation data in "Street Fighter Alpha", Capcom was able to do a relatively straight port to the Sega Saturn and PlayStation; source code from the arcade version is incorporated into both home versions.


title: Street Fighter Alpha

text: Ports of "Street Fighter Alpha" were initially released for the PlayStation and the Sega Saturn. Both versions feature an arranged soundtrack with a choice between the Arranged and Original versions. In addition to a dedicated two-player "Versus Mode", these ports were also the first console "Street Fighter" ports to feature a Training Mode, allowing players to practice their techniques and combos on a non-hostile character. As part of their Capcom licensing deal, the home versions were published in Europe by Virgin Interactive instead of Capcom. The PlayStation version of "Street Fighter Alpha" was re-released for the PSP and PlayStation 3 via the PlayStation Network on August 14, 2008 in North America.


title: Street Fighter Alpha

text: A port for Capcoms CPS Changer was also released as a mail order release in 1996 in Japan. This version was based on the CPS I version. A Windows PC version was released in 1998, based on the PlayStation version.


title: Street Fighter Alpha

text: A Game Boy Color version (ported by Crawfish Interactive) was released in 1999, featuring downscaled graphics and sound. The Game Boy Color version has no link cable support and is single-player only. The Japanese version of the Game Boy Color port was released using the "Alpha" name, rather than the "Zero" name.


title: Street Fighter Alpha

text: The original "Street Fighter Alpha" and its sequels are featured in "Street Fighter Alpha Anthology" for the PlayStation 2. The version of "Alpha" in this compilation features Arcade, Versus and Training modes like the previous PlayStation and Saturn ports, as well as Survival and Dramatic Battle modes. The Dramatic Battle on the main menu differs from the one in the original arcade game in that the player can select any pair of characters and face against a series of four computer-controlled opponents (Adon, Sagat, M. Bison and Akuma), not just Ryu and Ken against Bison. Furthermore, the player can turn on an option to allow Super Cancels, that is, canceling a special move into a Super Combo.


title: Street Fighter Alpha

text: "Street Fighter Alpha" was one of the twelve games released as part of the "Street Fighter 30th Anniversary Collection" in its emulated arcade form. This version is on the PlayStation 4, Xbox One, Nintendo Switch and Steam with the feature of save states.


title: Street Fighter Alpha

text: In Japan, "Game Machine" listed "Street Fighter Zero" on their August 1, 1995 issue as being the second most-successful arcade game of the month. It went on to be the second highest-grossing arcade game of 1995 in Japan, below "Virtua Fighter 2". In North America, "RePlay" reported "Street Fighter Alpha" was the most-popular arcade game in August 1995.


title: Street Fighter Alpha

text: In the United Kingdom, it was among the nineteen best-selling PlayStation games of 1996, according to HMV.


title: Street Fighter Alpha

text: Reviewing the arcade version, "Computer and Video Games" praised the improved sprite graphics and innovative gameplay features such as the revamped Super Combo system and the new Alpha Counter mechanic. The review said it's "fast, exciting, visually explosive and for our money a dead cert hit." A critic for "Next Generation" criticized the game's lack of major changes from previous iterations of the series, but concluded, "Capcom's right, in a way. "Street Fighter" only needs subtle changes for now; it's already got the most important thing: great gameplay."


title: Street Fighter Alpha

text: "Electronic Gaming Monthly" gave the PlayStation version their "Game of the Month" award, and reviewers for "Electronic Gaming Monthly", "GamePro", and "Maximum" all hailed it as being virtually identical to the arcade version, though some of them complained about the load times. "GamePro" called it "easily the best argument that the PlayStation is not just a polygon-based system", while "Maximum" deemed it "the next logical evolvement of the most popular fighting game of all time." Reviewers were also pleased with Alpha's new gameplay mechanics such as alpha counters.


title: Street Fighter Alpha

text: Reviewing the Saturn version, "Sega Saturn Magazine" commented: "The graphics are great, the sound's great, it plays very well indeed and it's tough enough to keep you going for ages even without a second player to hand." However, they also remarked that the game was outclassed by the recently released "" and that most gamers should get that one instead. "GamePro" criticized that some of the game's new characters were not as powerful or fun to play as the series regulars, but praised the gameplay additions and deemed the Saturn version "a near-perfect arcade conversion." "Maximum" argued that while the game has fewer characters and backgrounds than "Super Street Fighter II Turbo" and makes few innovations to the series, it is refined to the point where "Everything that Street Fighter does so well has been taken to new levels in Alpha." They commented on the accuracy of the Saturn version and gave it their "Maximum Game of the Month" award. Both "GamePro" and "Maximum" particularly applauded the coloration of the Super Move shadows in the Saturn version. In 1996, GamesMaster ranked the game 43rd on their "Top 100 Games of All Time."


title: Street Fighter Alpha

text: The Game Boy Color version was a runner-up for "GameSpot"s annual "Best Game Boy Color Game" and "Best Fighting Game" awards, losing to "Dragon Warrior I & II" and "", respectively.


title: Street Fighter Alpha

text: "Street Fighter Alpha" was followed by two sequels: "Street Fighter Alpha 2" in 1996 and "Street Fighter Alpha 3" in 1998. Like "Alpha", the two games were originally released for the arcades, followed by a few upgraded editions and home versions. All three games in the series and their variations were included in the PlayStation 2 compilation "Street Fighter Alpha Anthology", released in 2006.


title: Street Fighter Alpha

text: A manga adaptation based on the original "Alpha" and "Alpha 2" by Masahiko Nakahira was published in "Gamest" game from 1995 to 1996, and was later adapted into English by UDON in 2007. Two different animated adaptations were also produced: "" in 1999 and "" in 2005.


title: Y. G. Mahendran

text: Yecha Gunja Mahendran (born 9 January 1950) is an Indian dramatist, actor, singer, playwright and comedian from the state of Tamil Nadu. He has acted in a number of plays and films. He is the son of Y. G. Parthasarathy, one of the pioneers of modern Tamil drama and Rajalakshmi Parthasarathy, founder and dean of Padma Seshadri Bala Bhavan group of schools, and nephew of veteran Tamil filmmaker K. Balaji. Mahendra is also the cousin of actress Vyjayanthimala and the co-brother of Rajinikanth and Mohanlal.


title: Y. G. Mahendran

text: Y. G. Mahendran was born on 9 January 1950 to Y. G. Parthasarathy and Y. G. Rajalakshmi. Y. G. P. founded the United Amateur Artists (UAA), one of the first drama companies in Madras city, in the year 1952. His drama company was a success and he emerged as one of the foremost dramatists of his era. Mahendra's mother Mrs. Rajalakshmi (also called Mrs. Y.G.P.) was the founder of the Padma Seshadri Group of Schools. Starting from modest beginnings in a thatched shed in the terrace of the Y.G.P. home in 1959 with a batch of eleven students as an act of social service for the members of the Nungambakkam Recreation Club the school has since emerged as one of the best schools in India.


title: Y. G. Mahendran

text: Hailing from a family of stage-lovers, Mahendra soon developed a liking for drama from his early days. He played the part of comedian in school plays and earned acclaim. On completion of his schooling from Don Bosco Egmore, he studied Chemical Engineering at A. C. College of Technology, Guindy and MBA. During his college days, he was touted as a prospective film actor. He was in his early teens when he joined his father's drama troupe, the United Amateur Artists (UAA). This gave him the desired break. His first few plays were huge successes attracting audiences by thousands. Mahendra's name had become one of the prominent names in the city. Eventually, he had to choose between acting and his career and he chose the former.


title: Y. G. Mahendran

text: Y.G. Mahendran's daughter Madhuvanti is married to actor Gemini Ganesan and actress Savitri's grandson, V. Arunkumar.


title: Y. G. Mahendran

text: In 1971, Mahendra was cast by veteran director K. Balachander in the latter's film "Navagraham". The film was an average grosser. Mahendra was discovered to have a nasal accent which made him funny. He acted in a variety of roles in a number of movies – particularly as a dim witted fool of a cousin – generally eclipsing roles enjoyed by Cho Ramaswamy in the 1960s and 1970s.


title: Y. G. Mahendran

text: Mahendra's career spans over four decades and involves more than 200 movies. He also acted in supporting roles with actors such as Sivaji Ganesan, Jaishankar, Kamal Haasan and his brother-in-law, Rajinikanth. He acted with Rajinikanth in films such as "Pokkiri Raja", "Paayum Puli", "Shri Raghavendra" and "Veera" and with Kamal Haasan in movies such as "Apoorva Raagangal", "Neeya", "Guru", etc.


title: Y. G. Mahendran

text: Mahendra made reference to the ongoing Citizenship Amendment Act protests across India and the involvement of the student community and said the students go to the protests because they can get a leave on the day and they can cause ruckus and to check out the women standing in the crowd. His statements were criticized by different sections on social media. Singer Chinmayi criticised his comments and said, "Comments from men such as Y. G. Mahendran has to be brushed aside, because it's a waste of time speaking about them.


title: Y. G. Mahendran

text: Y.Gee, thanks to his brother in law, also began a parallel career in industrial ceramics and had a flourishing company established in 1982.


title: Y. G. Mahendran

text: Y.Gee sold his ceramics business in 2001 for a whopping sum and has made a comeback into production and acting.


title: Y. G. Mahendran

text: Y.G. Mahendran dubbed for Kamal Haasan for "Iru Nilavugal", the Tamil dubbed version of his Telugu film "Sommokadidi Sokokadidi" by imitating his voice.


title: Y. G. Mahendran

text: Mahendran also dubbed for Telugu actor Babu Mohan for "Idhuthaanda Police", Tamil dubbed version of Telugu film "Ankusam".


title: Théodore Pellerin

text: Théodore Pellerin (, born June 13, 1997) is a Canadian film and television actor from Quebec. He is most noted for his performance in the 2018 film "Family First (Chien de garde)", for which he won the Prix Iris for Revelation of the Year at the 20th Quebec Cinema Awards, and the Canadian Screen Award for Best Actor at the 7th Canadian Screen Awards. In 2021, he starred as Oliver Larsson in the Netflix film "There's Someone Inside Your House".


title: Théodore Pellerin

text: Pellerin has appeared in the films "Endorphine", "Boost", "The Demons", "It's Only the End of the World", "The Beep Test", "Boy Erased", "Never Steady, Never Still", "Isla Blanca", "Genesis (Genèse)", "Ville Neuve", and "Never Rarely Sometimes Always". Recently, he portrayed the pyramid scheme true believer Cody Bonar on the Showtime series "On Becoming a God in Central Florida".


title: Théodore Pellerin

text: In August 2019, Pellerin was cast in the Netflix slasher film "There's Someone Inside Your House". The film was released on October 6, 2021.


title: Canals of the United Kingdom

text: The canals of the United Kingdom are a major part of the network of inland waterways in the United Kingdom. They have a varied history, from use for irrigation and transport, through becoming the focus of the Industrial Revolution, to today's role of recreational boating. Despite a period of abandonment, today the canal system in the United Kingdom is again increasing in use, with abandoned and derelict canals being reopened, and the construction of some new routes. Canals in England and Wales are maintained by navigation authorities. The biggest navigation authorities are the Canal & River Trust and the Environment Agency, but other canals are managed by companies, local authorities or charitable trusts.


title: Canals of the United Kingdom

text: The majority of canals in the United Kingdom can accommodate boats with a length of between and are now used primarily for leisure. There are a number of canals which are far larger than this, including New Junction Canal and the Gloucester and Sharpness Canal, which can accommodate boats with a length of up to . An incomparable purpose-built ship canal is the Manchester Ship Canal. Upon opening in 1894, it was the largest ship canal in the world, permitting ships with a length of up to to navigate its route.


title: Canals of the United Kingdom

text: Canals first saw use during the Roman occupation of the south of Great Britain and were used mainly for irrigation. The Romans also created several navigable canals, such as Foss Dyke, to link rivers, enabling increased transport inland by water.


title: Canals of the United Kingdom

text: The United Kingdom's navigable water network grew as the demand for industrial transport increased. The canals were key to the pace of the Industrial Revolution: roads at the time were unsuitable for large volumes of traffic. A system of very large pack horse trains had developed, but few roads were suitable for wheeled vehicles able to transport large amounts of materials (especially fragile manufactured goods such as pottery) quickly. Canal boats were very much quicker, could carry large volumes, and were much safer for fragile items. Following the success of first the Sankey Canal followed by the Bridgewater Canal, other canals were constructed between industrial centres, cities and ports, and were soon transporting raw materials (particularly coal and lumber) and manufactured goods. There were immediate benefits to households, as well as to commerce: in Manchester, the cost of coal fell by 75% when the Bridgewater Canal arrived.


title: Canals of the United Kingdom

text: As the Industrial Revolution took hold in the end of the 18th and beginning of the 19th centuries, the technology allowed canals to be improved. The early canals contoured round hills and valleys, later ones went straighter. Locks took canals up and down hills, and they strode across valleys on taller and longer aqueducts and through hills in longer and deeper tunnels.


title: Canals of the United Kingdom

text: From the mid-19th century, railways began to replace canals, especially those built with the standard narrow () bridges and locks. As trains, and later road vehicles, became more advanced, they became cheaper than the narrow canal system, being faster, and able to carry much larger cargoes. The canal network declined, and many canals were bought by railway companies – in some cases to enable them to penetrate rival companies' areas transhipping to/from canal boats. Some narrow canals became unusable, filled with weeds, silt and rubbish, or were converted to railways.


title: Canals of the United Kingdom

text: There was a late burst of wide-waterway building (e.g. the Caledonian Canal, and the Manchester Ship Canal), and of invention and innovation by people such as Bartholomew of the Aire and Calder company, who conceived the trains of nineteen coal-filled "Tom Pudding" compartment boats that were pulled along the Aire and Calder Navigation from the Yorkshire coalfields, then lifted bodily to upturn their contents directly into seagoing colliers at Goole Docks (their descendants, Hargreaves' tugs pushing three coal-pans trains to be upended into hoppers at the Aire power stations lasted as late as 2004). However, the last new canal before the end of the 20th century was the New Junction Canal in Yorkshire (now South Yorkshire) in 1905. As competition intensified, horse-drawn single narrowboats were replaced by steam and later diesel powered boats towing an unpowered butty, and many of the boatmen's families abandoned their shore homes for a life afloat, to help with boat handling and to reduce accommodation costs – the birth of the legendary "boatman's cabin" with bright white lace, gleaming brass and gaily-painted metalware.


title: Canals of the United Kingdom

text: Constant lowering of tolls meant that the carriage of some bulky, non-perishable, and non-vital goods by water was still feasible on some inland waterways – but the death knell for commercial carrying on the narrow canals was sounded in the winter of 1962–63, when a long hard frost kept goods icebound on the canals for three months. A few of the remaining customers turned to road and rail haulage to ensure reliability of supply and never returned, though both rail and road had been severely disrupted by the frost and snow too. Other narrowboat traffic gradually ceased with the change from coal to oil, the closure of canalside factories, and run-down of British heavy industry. The last long-distance narrowboat traffics, coal from the Midlands to Dickinson's paper mills at Croxley and the Kearley and Tonge jam factory at Southall both ceased in 1970 – the Croxley mills had changed to oil and the jam factory closed for re-location. Regular narrowboat traffics continued, such as lime juice from Brentford to Boxmoor (until 1981) while aggregates were carried on the River Soar until 1988.


title: Canals of the United Kingdom

text: Some individual waterways (especially the Manchester Ship Canal, the Aire & Calder Navigation and the other large waterways) remain viable, carrying many millions of tonnes per year and there are still hopes for development, but containerisation of ports and lorries has mostly passed the waterways by. The last major investment development of the inland waterways was the enlargement of the Sheffield and South Yorkshire Navigation in the early 1980s to cope with barges of standard European dimensions that (in the depression of the 80s) never came. The scale of the futile hopes of those days can be appreciated by the occupants of a holiday narrowboat nearly lost in a lock built for the barges that were going to sail down the Rhine, across the North Sea aboard a ship, and up to Doncaster. Today there have been a number of successful initiatives to get more traffic on to the larger inland waterways, though even the Manchester Ship Canal does not convey cargo ships to the docks in Salford, which have become little more than a water feature for the apartments, offices and cultural institutions of 'Salford Quays' that have replaced the wharves and warehouses.


title: Canals of the United Kingdom

text: In the latter half of the 20th century, while the use of canals for transporting goods was dying out, there was a rise in interest in their history and potential use for leisure. A large amount of credit for this is usually given to L. T. C. Rolt, whose book "Narrow Boat" about a journey made in the narrowboat "Cressy" was published in 1944. A key development was the foundation of the Inland Waterways Association, and the establishment of fledgling weekly boat-hire companies, following the example of such companies on the Norfolk Broads, which had long been used for leisure boating. The authority responsible for the canals, the British Waterways Board, encouraged this process from the late 1950s by operating a fleet of holiday hire boats, initially converted from cut-down working boats.


title: Canals of the United Kingdom

text: Holidaymakers began renting 'narrowboats' and roaming the canals, visiting towns and villages they passed. Richer people bought boats to use for weekend breaks and the occasional longer trip. The concept of a canal holiday became even more familiar when the large agencies that dealt with Broads holidays began to include canal boatyards in their brochures. Canal-based holidays became popular due to their relaxing nature, self-catering levels of cost, and variety of scenery available; from inner London to the Scottish Highlands. This growth in interest came just in time to give local canal societies the ammunition they needed to combat government proposals in the 1960s to close commercially unviable canals, and to resist pressure from local authorities and newspapers to "fill in this eyesore" or even to "close the killer canal" (when someone fell in one). It was not long before enthusiastic volunteers were repairing unnavigable but officially open canals and moving on to restore officially closed ones and demonstrating their renewed viability to the authorities.


title: Canals of the United Kingdom

text: Local authorities began to see how a cleaned-up and well-used waterway was bringing visitors to other towns and waterside pubs — not just boaters, but people who just like being near water and watching boats (see gongoozler). They began to clean up their own watersides, and to campaign for "their" canal to be restored. As a result of this growing revival of interest, for the first time in a century some new routes have been constructed (the Ribble Link and the Liverpool Canal Link), another is under construction (the Fens Waterways Link). Large projects such as the restoration of the Anderton Boat Lift, or the building of the Falkirk Wheel attracted development funding from the European Union and from the Millennium Fund. The Rochdale Canal, the Huddersfield Narrow Canal and the Droitwich Canals have all been restored to navigation since 2000.


title: Canals of the United Kingdom

text: There are now about of navigable canals and rivers throughout the United Kingdom; 2,700 miles (4,345 km) of these are part of the connected system. Most of them are linked into a single English and Welsh network from Bristol to London, Liverpool to Goole and Lancaster to Ripon, and connecting the Irish Sea, the North Sea, the estuaries of the Humber, Thames, Mersey, Severn and Ribble. This network is navigable in its entirety by a narrowboat (a boat wide) no longer than about . There are also several through-routes not connected to the main network, notably those in Scotland, e.g., Glasgow to Edinburgh via the Forth and Clyde Canal, the Falkirk Wheel, and the Union Canal; and Fort William to Inverness via the Caledonian Canal (including Loch Lochy, Loch Oich, and Loch Ness).


title: Canals of the United Kingdom

text: There are four separate sections of the inland canal network accessible to wide or broad-beam boats of around wide (though two each are linked by tidal waterways). However, long-term proposed and already underway restorations and constructions of new routes would eventually link these sections, enabling wide boats to move freely between them and create a true north-south east-west network.


title: Canals of the United Kingdom

text: The aim of campaigning bodies such as the Inland Waterways Association is to protect the existing waterways and help restore once-navigable waterways. In May 2005, it was reported that British Waterways (the predecessor to the Canal & River Trust) was hoping to quadruple the amount of cargo carried on Britain's canal network to six million tonnes by 2010 by transporting large amounts of waste to disposal facilities.


title: Canals of the United Kingdom

text: The speed limit for the majority of inland waterways in the United Kingdom managed by the Canal & River Trust is . All speed measurements on Canal & River Trust waterways are expressed in terms of speed over the ground, rather than speed through the water.


title: Canals of the United Kingdom

text: Canal aqueducts are structures that carry a canal across a valley, road, railway, or another canal. Dundas Aqueduct is built of stone in a classical style. Pontcysyllte Aqueduct is an iron trough on tall stone piers. Barton Swing Aqueduct opens to let ships pass underneath on the Manchester Ship Canal. Three Bridges, London is a clever arrangement allowing the routes of the Grand Junction Canal, a road, and a railway line to cross each other.


title: Canals of the United Kingdom

text: Locks are the most common means of raising or lowering a boat from one water level to another. The distinguishing feature of a lock is a fixed chamber whose water-level can be changed.


title: Canals of the United Kingdom

text: Where a large height difference has to be overcome, locks are built close together in a flight such as at Caen Hill Locks. Where the gradient is very steep, a set of staircase locks are sometimes used, like Bingley Five Rise Locks. At the other extreme stop locks have little or no change in level but were built to conserve water where one canal joined another. An interesting example is King's Norton Stop Lock which was built with guillotine gates.


title: Canals of the United Kingdom

text: The Canals Collection at the Cadbury Research Library (University of Birmingham) contains archive materials relating to Midlands canals in the late eighteenth and early nineteenth centuries.


title: ScreenX

text: ScreenX is a panoramic film format which presents films with an expanded, dual-sided, 270-degree screens projected on the walls in a theater. First introduced in 2012, it is created by CJ 4DPLEX, a subsidiary of the CJ CGV group which also created the 4DX motion-theater technology, which, in fact, uses a similar logo and combines both formats, known as "4DX Screen". Co-developed by KAIST, it is considered a "sideways" version of IMAX and a presumed competitor to streaming platforms such as Netflix. In addition to films, the ScreenX theater also shows advertisements filmed or converted for the format.


title: ScreenX

text: Like for IMAX films, in order to match the length of the entire tri-screen theater, ScreenX films are formatted either through pre-production (shooting) or post-production (converting). A film shot for ScreenX is typically shot with three cameras. The process is done through scene selecting, archiving, delivering assets, color grading, and mastering before distribution to theaters.


title: ScreenX

text: The majority of films produced for ScreenX are live-action films, mostly from South Korea and Asia, and only a few animated films (as well as family films) are ever shown in/produced for the format. Despite its innovation, the technology has been rarely produced for Hollywood-studio films due to the complexity of the additional computer animation work as side footage. Lee Jae-seon, who worked for the ScreenX version of "" at G-node, said that, "It is not easy to create Hollywood blockbuster CG work in Korea, but it is meaningful because we created Hollywood blockbuster CG work for ScreenX.” Additionally, films were initially shown only in selected locations due to the lack of partners at the time.


title: ScreenX

text: On December 13, 2019 the largest ScreenX auditorium in the world was inaugurated at the Màgic Badalona shopping centre in Badalona, Spain. It has a capacity of 398 seats. India, which is home to a massive cinema audience got its first Screen X in July 2019 at INOX Megaplex at Mumbai, Maharashtra.


title: ScreenX

text: Since 2018, the ScreenX technology has proven to be successful at the worldwide box-office, following the successful panoramic release of Marvel Studios' "Black Panther". It has grossed a combined total of over $40 million throughout the year through films released in the panoramic format.


title: ScreenX

text: In 2022, ScreenX has achieved even more-successful box-office results, with "" being the highest-grossing release.


title: ScreenX

text: 4DX Screen (formerly "4DX with ScreenX") is the combination of the ScreenX and 4DX film formats which allows moviegoers to experience films in the multi-screen auditorium with enhanced motion and environmental effects, with an additional fourth-screen projected on the ceiling and the newest 4DX chair models. It debuted at a theater in Yongsan in 2017, and was internationally unveiled at CinemaCon 2018, and later at CES 2020. The combined film format is currently operating throughout Asian territories including South Korea, Japan and China. It later opened its first theater in a non-Asian location at a Les Cinémas Gaumont Pathé theater in Paris, France. It later made its overseas debut at a Cinépolis theater in Mexico City, Mexico in March 2020.


title: Pilita Corrales

text: Pilar Garrido Corrales (born August 22, 1937) is a Filipino pop singer, songwriter, actress, comedian and television presenter. She is dubbed as "Asia's Queen of Songs" and is widely known for her rendition of "Kapantay ay Langit" which eventually became her signature song.


title: Pilita Corrales

text: Corrales was among the most successful Filipino musical artists in the 1960s. She was one of the first female artists to reach number one on the Australian music chart with her 1959 single "Come Closer to Me." In 1963, her single "A Million Thanks to You" became one of the few songs by local artists to reach number one on the Philippine chart in the 1960s.


title: Pilita Corrales

text: Pilar Garrido Corrales was born on August 22, 1937, at Lahug, Cebu City, to José Corrales and María Garrido.


title: Pilita Corrales

text: Her cousin, Annie Corrales, was Miss Philippines in 1957 and married the businessman Eddie Woolbright.


title: Pilita Corrales

text: After finishing her studies at Colegio de la Inmaculada Concepción in Cebu, she went to a finishing school (charm school) in Spain at the Colegio Mayor de Padre Poveda.


title: Pilita Corrales

text: In 1957, Corrales began her recording career after arriving in Australia for a brief period. She left her legacy by becoming the first woman to make the Australian pop charts with a local recording called "Come Closer to Me". She became a star of the Victoria Television circuit and her first hit, "Come Closer to Me", became part of a collection on which she is billed as one of the "Grand Dames of Victorian Radio and Television".


title: Pilita Corrales

text: Corrales was among the first female artists to top the Australian pop music charts. She also recorded at least three LPs in the late 1950s and early 1960s: "Pilita with Arthur Young: Pilita Tells the Story of Love", "I'll Take Romance" and "This Is Pilita" under Astor Records. Being one of the pioneers of Australia's early television years, a street was named after her in Victoria. The Australian Broadcasting Corporation (ABC) featured Corrales and several pioneering female artists in Australia in the 2nd episode of the highly acclaimed TV special, "Love is in the Air". Corrales returned to Manila in 1963 to pursue a career in the Philippine music industry. Her Philippine career began when she hosted a radio program "La Taverna" over DZPI where she sang Spanish songs and played the guitar. She performed regularly in stage shows at the Manila Grand Opera House. Subsequently, her reputation grew and during her international stints, she has performed with internationally acclaimed artists like Sammy Davis Jr., the Beatles and on July 4, 1966, Bob Hope, Pat Boone, Frank Sinatra and Julie Andrews. She also appeared in movies, most of them musicals. Her film debut was a lead role in the 1968 film "Miss Wawaw" and was followed by 11 films for the next two years. Corrales later recorded songs in Spanish in the early 1960s as well as songs in English, Tagalog and Cebuano during the 1970s under Vicor Music Corporation. Her multi-awarded TV program at ABS-CBN, "An Evening with Pilita" (1965–1972), is widely considered as one of the benchmarks in Philippine broadcasting history.


title: Pilita Corrales

text: Corrales frequently performed for "Seeing Stars with Joe Quirino" on IBC-Channel 13 after the martial law years where she demonstrated her range as a gifted performer of Spanish, English, Cebuano and Tagalog music. Aquarius Record Philippines produced a compilation of Pilita's Spanish songs on CDs like "Noche de Ronda", "Vaya Con Dios". Her signature song "A Million Thanks to You" by Alice Doria-Gamilla was translated into seven languages. She eventually recorded songs composed by Filipino composers like Danny Holmsen, George Canseco, Willy Cruz, Ryan Cayabyab and several others. Under Vicor Records, Corrales interpreted numerous Filipino classics and introduced them to younger audiences.


title: Pilita Corrales

text: Corrales first met Canseco in "Your Evening with Pilita" (aired on pre-Martial Law ABS-CBN) as a guest in the composers' portion of the show". For the show Canseco brought with him "You're All I Love." Canseco later wrote Filipino lyrics for the song, which became "Kapantay ay Langit", the first song Canseco sold to a record label in 1966. The song was first recorded by Amapola aka Maria Cabase for the movie theme of "Kapantay ay Langit" starring Marlene Dauden and Eddie Rodríguez. The song won for George Canseco and Amapola the Manila Film Festival award for best song of the year. The song did not fare well commercially, because Amapola had left (for her U.S. concert tours) and the song was not promoted properly, according to Canseco during an interview with the Philippine Daily Inquirer. But when Corrales revived the song, it turned into a classic and defied trends and time. "The song," Corrales said, "was included in my album "Philippine Love Songs Vol. 1", which was released in the early 1970s."


title: Pilita Corrales

text: Through the personal invitation of Sammy Davis Jr., Corrales became the first Filipino to sing in Caesars Palace. In her concert in Caesars Palace, Las Vegas during the late '70s, Corrales sang Spanish, English, Cebuano and Tagalog songs, all conducted and arranged by Ryan Cayabyab.


title: Pilita Corrales

text: After receiving a 1965 Philippine Citizen's Award for TV as Best TV Female Performer, Corrales went on to receive "Cecil", "Aliw", "Tinig" and "Awit" and several other awards for her performances and lifetime achievement. In 1990, she received a Merit Award from the "FAMAS" Awards. In 1991, she was given a Lifetime Achievement Award by the Philippine Association of the Record Industry (PARI) for bringing Filipino musical artistry to an international audience. She was the first Filipino to win at an international music festival by bagging the Best Performer Award during the 1st Tokyo Music Festival (1972) where she bested numerous international artists, including Olivia Newton-John.


title: Pilita Corrales

text: She operates a restaurant bar in Greenhills named: PILITA'S, in one of Manila's prime commercial districts. She is a highly acclaimed host and comedy actress on Philippine television with over 135 albums to her credit and an international profile and appearances in Asia, the Middle East, Australia and North America.


title: Pilita Corrales

text: In 2006, Corrales was selected by Associated Broadcasting Company (ABC Channel 5, now TV5, formerly The 5 Network) and FremantleMedia to be one of the celebrity judges for the first-ever nationwide search for the "Philippine Idol" together with composer Ryan Cayabyab and rapper Francis Magalona. She was a judge in the first "Asian Idol" held in Indonesia, representing "Philippine Idol".


title: Pilita Corrales

text: Corrales has two children, Jackielou Blanco and Ramon Christopher Gutierrez. Her children are also well-known celebrities in the Philippine film industry. Corrales was married in 1963 to the late Spanish executive businessman Gonzalo Blanco and separated while her daughter was still a child. Gonzalo died in 1981.


title: Pilita Corrales

text: Corrales gave birth to her second child, Ramón Christopher Gutierrez, in 1971, known to be the father of Janine Gutierrez. Ramón Christopher's father is Filipino actor Eddie Gutierrez. Corrales also has an adopted son, VJ. On May 22, 2001, Corrales married Paraguayan/Australian businessman Carlos López.


title: John Nash (architect)

text: John Nash (18 January 1752 – 13 May 1835) was one of the foremost British architects of the Georgian and Regency eras, during which he was responsible for the design, in the neoclassical and picturesque styles, of many important areas of London. His designs were financed by the Prince Regent and by the era's most successful property developer, James Burton. Nash also collaborated extensively with Burton's son, Decimus Burton.


title: John Nash (architect)

text: Nash's best-known solo designs are the Royal Pavilion, Brighton; Marble Arch; and Buckingham Palace. His best-known collaboration with James Burton is Regent Street and his best-known collaborations with Decimus Burton are Regent's Park and its terraces and Carlton House Terrace. The majority of his buildings, including those that the Burtons did not contribute to, were built by James Burton's company.


title: John Nash (architect)

text: Nash was born in 1752, probably in Lambeth, south London. His father was a millwright also called John (1714–1772). From 1766 or 1767, Nash trained with the architect Sir Robert Taylor. The apprenticeship was completed in 1775 or 1776.


title: John Nash (architect)

text: On 28 April 1775, at the now-demolished church of St Mary Newington, Nash married his first wife Jane Elizabeth Kerr, daughter of a surgeon. Initially, he seems to have pursued a career as a surveyor, builder and carpenter. This gave him an income of around £300 a year (~£49,850 in 2020 money). The couple set up home at Royal Row Lambeth. He established his own architectural practice in 1777 as well as being in partnership with a timber merchant, Richard Heaviside. The couple had two children, both were baptised at St Mary-at-Lambeth, John on 9 June 1776 and Hugh on 28 April 1778. In June 1778 Nash, "by the ill conduct of his wife found it necessary to send her into Wales in order to work a reformation on her." The cause of this appears to have been the claim that Jane Nash, "had imposed two spurious children on him as his and her own, notwithstanding she had then never had any child", and she had contracted several debts unknown to her husband, including one for milliners' bills of £300. The claim that Jane had faked her pregnancies and then passed babies she had acquired off as her own was brought before the Consistory court of the Bishop of London. His wife was sent to Aberavon to lodge with Nash's cousin, Ann Morgan, but she developed a relationship with a local man, Charles Charles. In an attempt at reconciliation, Jane returned to London in June 1779, but she continued to act extravagantly so he sent her to another cousin, Thomas Edwards of Neath. She gave birth just after Christmas and acknowledged Charles Charles as the father. In 1781 Nash instigated action against Jane for separation on grounds of adultery. The case was tried at Hereford in 1782, Charles who was found guilty was unable to pay the damages of £76 (~£13,200 in 2020 money) and subsequently died in prison. The divorce was finally read 26 January 1787.


title: John Nash (architect)

text: His career was initially unsuccessful and short-lived. After inheriting £1000 (~£162,000 in 2020 money) in 1778 from his uncle Thomas, he invested the money in his first independent works, 15–17 Bloomsbury Square and 66–71 Great Russell Street in Bloomsbury. However, the property failed to let and he was declared bankrupt on 30 September 1783. His debts were £5000 (~£760,000 in 2020 money), including £2000 he had been lent by Robert Adam and his brothers. A blue plaque commemorating Nash was placed on 66 Great Russell Street by English Heritage in 2013.


title: John Nash (architect)

text: Nash left London in 1784 to live in Carmarthen, to where his mother had retired, her family being from the area. In 1785 he and a local man, Samuel Simon Saxon, re-roofed the town's church for 600 guineas. Nash and Saxon seem to have worked as building contractors and suppliers of building materials. Nash's London buildings had been standard Georgian terraced houses, and it was in Wales that he matured as an architect. His first major work in the area was the first of three prisons he would design, Carmarthen 1789–92. This was planned by the penal reformer John Howard and Nash developed this into the finished building. He went on to design the prisons at Cardigan (1791–1796) and Hereford (1792–1796). It was at Hereford that Nash met Richard Payne Knight, whose theories on the picturesque as applied to architecture and landscape would influence Nash. The commission for Hereford Gaol came after the death of William Blackburn, who was to have designed the building. Nash's design was accepted after James Wyatt approved of the design.


title: John Nash (architect)

text: In 1789 St David's Cathedral was suffering from structural problems, the west front was leaning forward by one foot, Nash was called in to survey the structure and develop a plan to save the building. His solution completed in 1791, was to demolish the upper part of the façade and rebuild it with two large but inelegant flying buttresses. In 1790 Nash met Uvedale Price, of Downtown Castle, whose theories of the Picturesque would influence Nash's town planning. Price commissioned Nash to design Castle House Aberystwyth (1795). Its plan took the form of a right-angled triangle, with an octagonal tower at each corner, sited on the very edge of the sea.


title: John Nash (architect)

text: One of Nash's most important developments were a series of medium-sized country houses that he designed in Wales, which developed the villa designs of his teacher Sir Robert Taylor. Most of these villas consist of a roughly square plan with a small entrance hall and a staircase offset in the middle to one side, around which are placed the main rooms. There is then a less prominent servants' quarters in a wing attached to one side of the villa. The buildings are usually only two floors in height and the elevations of the main block are usually symmetrical. One of the finest of these villas is Llanerchaeron, but at least a dozen villas were designed throughout south Wales. Others, in Pembrokeshire, include Ffynone, built for the Colby family at Boncath near Manordeifi, and Foley House, built for the lawyer Richard Foley (brother of Admiral Sir Thomas Foley) at Goat Street in Haverfordwest.


title: John Nash (architect)

text: From 1796 Nash spent most of his time working in London; this was a prelude to his return to the capital in 1797. At this time Nash designed the delicate Strawberry Hill Gothic revival gateway to Clytha Park near Abergavenny in Monmouthshire, and also his alterations in Gothic Revival style in 1794 to Hafod Uchtryd for Thomas Johnes at Devil's Bridge, Cardiganshire. Also in c. 1794–95 he advised on the paving, lighting and water supply in Abergavenny and designed an elegant market building. Other work included Whitson Court near Newport. After his return to London, Nash continued to design houses in Wales including Harpton Court in Radnorshire, which was demolished, apart from the service wing, in 1956. In 1807 he drew up plans for the re-building of Hawarden Castle with Gothic battlements and towers, but the plan appears to have been modified by another architect when it was carried out. About 1808 he designed Monachty near Aberaeron and later drew up plans for work at Nanteos.


title: John Nash (architect)

text: He met Humphry Repton at Stoke Edith in 1792 and formed a successful partnership with the landscape garden designer. One of their early commissions was at Corsham Court in 1795–96. The pair would collaborate to carefully place the Nash-designed building in grounds designed by Repton. The partnership ended in 1800 under recriminations, Repton accusing Nash of exploiting their partnership to his own advantage. As Nash developed his architectural practice it became necessary to employ draughtsmen; the first in the early 1790s was Augustus Charles Pugin, and later in 1795, John Adey Repton son of Humphry.


title: John Nash (architect)

text: In June 1797 Nash moved into 28 Dover Street, a building of his own design. He built a larger house next door at 29, into which he moved the following year. Nash married 25-year-old Mary Anne Bradley on 17 December 1798 at St George's, Hanover Square. In 1798, he purchased a plot of land of at East Cowes on which he erected 1798–1802 East Cowes Castle as his residence. It was the first of a series of picturesque Gothic castles that he would design.


title: John Nash (architect)

text: Nash's final home in London was 14 Regent Street which he designed and built 1819–23. Number 16 was built at the same time for the home of Nash's cousin John Edwards, a lawyer who handled all of Nash's legal affairs. Located in lower Regent Street, near Waterloo Place, both houses formed a single design around an open courtyard. Nash's drawing office was on the ground floor and on the first floor was the finest room in the house, the 70-foot-long picture and sculpture gallery; it linked the drawing-room at the front of the building with the dining room at the rear. The house was sold in 1834 and the gallery interior moved to East Cowes Castle.


title: John Nash (architect)

text: The finest of the dozen country houses that Nash designed as picturesque castles include the relatively small Luscombe Castle Devon (1800–04); Ravensworth Castle (Tyne and Wear), begun in 1807 but only finally completed in 1846, which was one of the largest houses by Nash; Caerhays Castle in Cornwall (1808–10); and Shanbally Castle, County Tipperary (1818–1819), which was the last of these castles to be built. These buildings all represented Nash's continuing development of an asymmetrical and picturesque architectural style that had begun during his years in Wales, at both Castle House Aberystwyth and his alterations to Hafod Uchtryd.


title: John Nash (architect)

text: This process would be extended by Nash in planning groups of buildings, the first example being Blaise Hamlet (1810–1811). There a group of nine asymmetrical cottages was laid out around a village green. Nikolaus Pevsner described the hamlet as "the "ne plus ultra" of the Picturesque movement". The hamlet has also been described as the first fully realized exemplar of the garden suburb. Nash developed the asymmetry of his castles in his Italianate villas. His first such exercise was Cronkhill (1802), and others included Sandridge Park (1805) and Southborough Place, Surbiton(1808).


title: John Nash (architect)

text: He advised on work to the buildings of Jesus College, Oxford, in 1815, for which he required no fee but asked that the college commission a portrait of him from Sir Thomas Lawrence to hang in the college hall.


title: John Nash (architect)

text: Nash was a dedicated Whig and was a friend of Charles James Fox through whom Nash probably came to the attention of the Prince Regent (later King George IV). In 1806 Nash was appointed architect to the Surveyor General of Woods, Forests, Parks, and Chases. From 1810 Nash would take very few private commissions and for the rest of his career he would largely work for the Prince. His employment by the Prince Regent enabled Nash to embark upon a number of grand architectural projects.


title: John Nash (architect)

text: His first major commissions in (1809–1826) from the Prince were Regent Street and the development of an area then known as Marylebone Park. With the Regent's backing, Nash created a master plan for the area, put into effect from 1818 onwards, which stretched from St James's northwards and included Regent Street, Regent's Park (1809–1832) and its neighbouring streets, terraces and crescents of elegant townhouses and villas. Nash did not design all the buildings himself. In some instances, these were left in the hands of other architects such as James Pennethorne and the young Decimus Burton.


title: John Nash (architect)

text: Nash went on to re-landscape St. James's Park (1814–1827), reshaping the formal canal into the present lake, and giving the park its present form. A characteristic of Nash's plan for Regent Street was that it followed an irregular path linking Portland Place to the north with Carlton House, London (replaced by Nash's Carlton House Terrace (1827–1833) to the south. At the northern end of Portland Place Nash designed Park Crescent, London (1812 and 1819–1821), this opens into Nash's Park Square, London (1823–24), this only has terraces on the east and west, the north opens into Regent's Park.


title: John Nash (architect)

text: The terraces that Nash designed around Regent's Park though conforming to the earlier form of appearing as a single building, as developed by John Wood, the Elder, are unlike earlier examples set in gardens and are not orthogonal in their placing to each other. This was part of Nash's development of planning, this found it is a most extreme example when he set out Park Village East and Park Village West (1823–34) to the north-east of Regent's Park, here a mixture of detached villas, semi-detached houses, both symmetrical and asymmetrical in their design are set out in private gardens railed off from the street, the roads loop and the buildings are both classical and gothic in style. No two buildings were the same, and or even in line with their neighbours. The park villages can be seen as the prototype for the Victorian suburbs.


title: John Nash (architect)

text: Nash was employed by the Prince from 1815 to develop his Marine Pavilion in Brighton, originally designed by Henry Holland. By 1822 Nash had finished his work on the Marine Pavilion, which was now transformed into the Royal Pavilion. The exterior was based on Mughal architecture, giving the building its exotic form, the Chinoiserie style interiors are largely the work of Frederick Crace.


title: John Nash (architect)

text: Nash was also a director of the Regent's Canal Company set up in 1812 to provide a canal link from west London to the River Thames in the east. Nash's master plan provided for the canal to run around the northern edge of Regent's Park; as with other projects, he left its execution to one of his assistants, in this case James Morgan. The first phase of the Regent's Canal was completed in 1816 and finally completed in 1820.


title: John Nash (architect)

text: Together with Robert Smirke and Sir John Soane, he became an official architect to the Office of Works in 1813 (although the appointment ended in 1832) at a salary of £500 per annum (£57,810 in 2020 money). Following the death in September of that year of James Wyatt, this marked the high point in his professional life. As part of Nash's new position, he was invited to advise the Parliamentary Commissioners on the building of new churches from 1818 onwards. Nash produced ten church designs, each estimated to cost around £10,000 (£1.2 million in 2020 money) with seating for 2000 people; the style of the buildings were both classical and gothic. In the end, Nash only built two churches for the Commission: the classical All Souls Church, Langham Place (1822–24), terminating the northern end of Regent Street, and the gothic St. Mary's Haggerston (1825–27), bombed during The Blitz in 1941.


title: John Nash (architect)

text: Nash was involved in the design of two of London's theatres, both in Haymarket. The King's Opera House (now rebuilt as Her Majesty's Theatre) (1816–1818) where he and George Repton remodelled the theatre, with arcades and shops around three sides of the building, the fourth being the still surviving Royal Opera Arcade. The other theatre was the Theatre Royal Haymarket (1821), with its fine hexastyle Corinthian order portico, which still survives, facing down Charles II Street to St. James's Square, Nash's interior no longer survives (the interior now dates from 1904). In 1820 a scandal broke, when a cartoon was published showing a half-dressed King George IV embracing Nash's wife with a speech bubble coming from the King's mouth containing the words "I have great pleasure in visiting this part of my dominions". Whether this was based on just a rumour put about by people who resented Nash's success or if there is substance behind is not known. Further London commissions for Nash followed, including the remodelling of Buckingham House to create Buckingham Palace (1825–1830),


title: John Nash (architect)

text: and for the Royal Mews (1822–24) and Marble Arch (1828). The arch was originally designed as a triumphal arch to stand at the entrance to Buckingham Palace. It was moved when the east wing of the palace designed by Edward Blore was built, at the request of Queen Victoria whose growing family required additional domestic space. Marble Arch became the entrance to Hyde Park and The Great Exhibition.


title: John Nash (architect)

text: The parents of John Nash, and Nash himself during his childhood, lived in Southwark, where James Burton worked as an 'Architect and Builder' and developed a positive reputation for prescient speculative building between 1785 and 1792. Burton built the Blackfriars Rotunda in Great Surrey Street (now Blackfriars Road) to house the Leverian Museum, for land agent and museum proprietor James Parkinson. However, whereas Burton was vigorously industrious, and quickly became 'most gratifyingly rich', Nash's early years in private practice, and his first speculative developments, which failed either to sell or let, were unsuccessful, and his consequent financial shortage was exacerbated by the 'crazily extravagant' wife whom he had married before he had completed his training, until he was declared bankrupt in 1783.


title: John Nash (architect)

text: To repair his finances, Nash cultivated the acquaintance of James Burton, who consented to patronize him. James Burton responsible for the social and financial patronage of the majority of Nash's London designs, in addition to for their construction. Architectural scholar Guy Williams has written, "John Nash relied on James Burton for moral and financial support in his great enterprises. Decimus had showed precocious talent as a draughtsman and as an exponent of the classical style... John Nash needed the son's aid, as well as the father's".


title: John Nash (architect)

text: Subsequent to the Crown Estate's refusal to finance them, James Burton agreed to personally finance the construction projects of Nash at Regent's Park, which he had already been commissioned to construct. Consequently, in 1816, Burton purchased many of the leases of the proposed terraces around, and proposed villas within, Regent's Park and, in 1817, Burton purchased the leases of five of the largest blocks on Regent Street. The first property to be constructed in or around Regent's Park by Burton was his own mansion: The Holme, which was designed by his son, Decimus Burton, and completed in 1818. Burton's extensive financial involvement 'effectively guaranteed the success of the project'. In return, Nash agreed to promote the career of Decimus Burton.


title: John Nash (architect)

text: Nash was a vehement advocate of the neoclassical revival endorsed by Soane, although he had lost interest in the plain stone edifices typical of the Georgian style, and instead advocated the use of stucco. Decimus Burton entered the office of Nash in 1815, where he worked alongside Augustus Charles Pugin, who detested the neoclassical style. Burton established his own architectural practice in 1821. In 1821, Nash invited Decimus Burton to design Cornwall Terrace in Regent's Park, and he was also invited by George Bellas Greenough, a close friend of the Prince Regent, Humphry Davy, and Nash, to design Grove House in Regent's Park.


title: John Nash (architect)

text: Greenough's invitation to Decimus Burton was 'virtually a family affair', for Greenough had dined frequently with Burton Jr.'s parents and brothers, including the physician Henry Burton. Greenough and Burton Jr. finalized their designs during numerous meetings at the opera. The design, when the villa had been completed, was described in "The Proceedings of the Royal Society" as, "one of the most elegant and successful adaptations of the Grecian style to purposes of modern domestic architecture to be found in this or any country."


title: John Nash (architect)

text: Subsequently, Nash invited Burton Jr. to design Clarence Terrace, Regent's Park. Such were James Burton's contributions to the Regent's Park project that the Commissioners of Woods described James, not Nash, as 'the architect of Regent's Park'. Contrary to popular belief, the dominant architectural influence in many of the Regent's Park projects - including Cornwall Terrace, York Terrace, Chester Terrace, Clarence Terrace, and the villas of the Inner Circle, including The Holme and the London Colosseum attraction (the latter to Thomas Hornor's specifications) all of which were constructed by James Burton's company - was Decimus Burton, not John Nash, who was appointed architectural 'overseer' for Burton Jr.'s projects.


title: John Nash (architect)

text: Burton Jr., to Nash's chagrin, developed the Terraces according to his own style to the extent that Nash sought, unsuccessfully, to demolish and completely rebuild Chester Terrace. Burton Jr. subsequently eclipsed his master and emerged as the dominant force in the design of Carlton House Terrace, where he exclusively designed No. 3 and No. 4. He also designed some of the villas of the Inner Circle: his villa for the Marquess of Hertford has been described as, 'decorated simplicity, such as the hand of taste, aided by the purse of wealth can alone execute'.


title: John Nash (architect)

text: Nash's career effectively ended with the death of George IV in 1830. The King's notorious extravagance had generated much resentment, and Nash was now without a protector. The Treasury started to look closely at the cost of Buckingham Palace. Nash's original estimate of the building's cost had been £252,690, but this had risen to £496,169 in 1829; the actual cost was £613,269 (~£69.5 million in 2020 money), and the building was still unfinished. This controversy ensured that Nash would not receive any more official commissions, nor would he be awarded the knighthood that other contemporary architects such as Jeffry Wyattville, John Soane and Robert Smirke received. Nash retired to the Isle of Wight to his home, East Cowes Castle.