title: Princess Helena of the United Kingdom

text: Music was one of her passions; in her youth she played the piano with Charles Hallé, Jenny Lind and Clara Butt, who were among her personal friends, and she was amongst the first members of the Bach Choir of London, founded by Lind's husband (and Helena's former piano teacher) Otto Goldschmidt. Her determination to carry out a wide range of public duties won her widespread popularity. She twice represented her mother at Drawing Rooms, attendance at which was considered equivalent to being presented to the queen herself.


title: Princess Helena of the United Kingdom

text: Helena was closest to her brother, Prince Alfred, who considered her his favourite sister. Though described by contemporaries as fearfully devoted to the Queen Victoria, to the point that she did not have a mind of her own, she actively campaigned for women's rights, a field the queen abhorred. Nevertheless, both she and Beatrice remained closest to the queen, and Helena remained close to her mother's side until the latter's death. Her name was the last to be written in the queen's seventy-year-old journal.


title: Princess Helena of the United Kingdom

text: In 1858, Helena and the three younger of her sisters were granted use of the royal arms, with an inescutcheon of the shield of Saxony, and differenced by a label of three points argent. On Helena's arms, the outer points bore roses gules, and the centre bore a cross gules. In 1917, the inescutcheon was dropped by royal warrant from George V.


title: Princess Helena of the United Kingdom

text: Prince and Princess Christian had six children, four of whom lived to adulthood. They had one grandchild, Valerie Marie zu Schleswig-Holstein, who died in 1953 as their final descendant.


title: Asking Alexandria

text: Asking Alexandria are a British rock band from York, North Yorkshire, consisting of guitarists Ben Bruce and Cameron Liddell, drummer James Cassells, lead vocalist Danny Worsnop, and bassist Sam Bettley.


title: Asking Alexandria

text: Initially formed in 2006 by Ben Bruce, the band officially established as a six-piece in 2008 with the founding line-up consisting of Bruce, Worsnop, Cassells, Liddell, Joe Lancaster and Ryan Binns. After the departure of Lancaster and Binns, as well as the recruitment of bassist Sam Bettley in 2009, the band released their debut album "Stand Up and Scream" (2009). The band released two studio albums "Reckless & Relentless" (2011) and "From Death to Destiny" (2013), before the departure of Worsnop in January 2015. He was replaced by Denis Stoff and the band released "The Black" (2016). Stoff departed from the band in October that year, and Worsnop subsequently returned to the band. The band released their self-titled fifth album in late 2017, which was a marked stylistic departure from their previous works. Their sixth studio album, "Like a House on Fire", which was released on 15 May 2020, shows the group's continuity of a more straightforward and melodic hard rock sound, while also shift into different genres. Its follow-up and their seventh studio album, "See What's on the Inside", was released on 1 October 2021.


title: Asking Alexandria

text: Ben Bruce, the band's current lead guitarist and backing vocalist, originally formed the band in Dubai, United Arab Emirates in 2006. The band's original line-up consisted of completely different members compared to that of the band's line-up from 2008 and released their debut EP, "Tomorrow. Hope. Goodbye." In 2006, then followed up with their debut album titled "The Irony of Your Perfection" in 2007. After realizing he would not be able to achieve international success in Dubai, he moved back to England, Nottingham in 2008 and reassembled the band with new members from the local area, including lead singer Danny Worsnop, whom he had moved into his flat apartment in York.


title: Asking Alexandria

text: The band became a six-piece after recruiting Ryan Binns on synthesizers, James Cassells on drums, Joe Lancaster on bass and Cameron Liddell on rhythm guitar. Later that year, Binns decided to leave the band. In January 2009, Lancaster also decided to leave and was replaced with Sam Bettley. Lancaster later joined the metalcore band With One Last Breath.


title: Asking Alexandria

text: Bruce carried the name of his previous band over to his new one, due to not wanting the bother of coming up with a new one. However, he insists that despite having the same name, it is not the same band. When asked why he chose that particular name, he explained that ""'Most bands have a pretty shit band name, so I just came up with something. I came up with Alexandria as a human name, because people relate to humans."" although the reason for using the word 'asking' is not explained.


title: Asking Alexandria

text: "Stand Up and Scream" was recorded during Spring 2009 and was produced by Joey Sturgis. The band signed to Sumerian Records and released their debut album on the label on 15 September. The album charted only in the US peaking at 4 in the Top Heatseekers, 24 in the Top Hard Rock Albums and 29 in the Top Independent Albums. Four singles were released from "Stand Up and Scream": "The Final Episode (Let's Change the Channel)", "A Prophecy", "If You Can't Ride Two Horses at Once... You Should Get Out of the Circus", and "Not the American Average". On 3 December 2014, the single "The Final Episode (Let's Change the Channel)" was certified gold by the RIAA after 500,000 copies were sold in the US. On 30 March 2017, the band's fourth single "Not the American Average" was also certified gold by the RIAA after 500,000 copies were sold in the US. The band toured across America as a support act for the remainder of the year, supporting Evergreen Terrace along with For the Fallen Dreams and Unholy in October, and Alesana along with From First to Last, The Word Alive and Memphis May Fire in November and December.


title: Asking Alexandria

text: They toured across the US as a headlining act in March with bands We Came as Romans, From First to Last, Our Last Night, and A Bullet For Pretty Boy. The band supported metalcore outfit Attack Attack! throughout March and April along with Breathe Carolina, I See Stars and Bury Tomorrow in the US. They later supported Dance Gavin Dance during their European tour in April to early May along with In Fear and Faith, during which they performed at The Bamboozle festival on 1 May. The band performed at the "Thrash & Burn" tour as a headline act along with Born of Osiris, Kittie and Stick to Your Guns from 16 July to 14 August in America.


title: Asking Alexandria

text: After touring the band announced that they would release a limited edition EP and DVD titled "Life Gone Wild" both digitally and excursively at Hot Topic on 21 December 2010 and would feature a new song titled "Breathless" which was initially a demo for their second album "Stand Up and Scream" and multiple covers while the DVD provides video footage of the band themselves. The band also announced that they would release a remix album titled "Stepped Up And Scratched" and was initially announced as the remix version of their debut and would be released in January 2011, however was later announced to be released in November instead and would contain remixes of songs from their to be released second album. Their third album, titled "Reckless & Relentless" was released 4 April 2011. This time, the album did chart in the UK, peaking at 7 on the UK Rock Chart, and also charted in Australia at 30 on the Australian Albums Chart. The band also released a cover of Akon's song Right Now (Na Na Na) for the Punk Goes... compilation series, specifically for the album Punk Goes Pop 3.


title: Asking Alexandria

text: Asking Alexandria later performed at the "Soundwave 2011 Festival" in Australia during late February and early March. In April and May the band headlined in the UK with support acts Of Mice & Men and Chelsea Grin. Also in April comedian Charlie Sheen had offered the band a spot on his 'My Violent Torpedo of Truth' tour across the US however the band had to turn it down due to their touring schedule at the time, but expressed their flattery and admitted to being fans of Sheen. The group was also the headliner for the "Vans Warped Tour" 2011 in July. The band co-headlined a toured with rap rock band Hollywood Undead throughout November across America, dubbed the World War III tour. After their tour both bands supported Avenged Sevenfold during their headline arena tour throughout the remainder of November to mid December.


title: Asking Alexandria

text: In 2012 the band was listed by "Revolver" under the most anticipated albums of 2012, with Danny Worsnop giving the statement that the general sound of the album will be a "...musical baby of Mötley Crüe and Slipknot." In March the band participated in Dallas' 'South By So What?!' festival and later toured with support acts Trivium, Dir En Grey, I See Stars, Motionless In White and the Amity Affliction throughout North America from early March to early April, naming the tour 'Still Reckless'.


title: Asking Alexandria

text: In early May the band debuted a trailer for their short film titled "Through Sin and Self-Destruction" featuring the band members, said to contain a "controversial, uncensored look into the real lives of a new era of rock stars for today’s generation" and was officially released on iTunes on 15 May. The film itself consists of the three music videos from their second album: "Reckless & Relentless", "To the Stage" and "Dear Insanity".


title: Asking Alexandria

text: On 5 August the band performed at the 2012 Mayhem Festival tour along with other bands such as Motörhead, Slayer and Slipknot. Later the same month the band offered a free download for their new song titled 'Run Free' and was said to be from their third album that had yet to be announced. A month later, when asked about the sound of the third album, Ben Bruce explained that the band had matured and in order to excel in their career they will be recording and releasing radio friendly singles, however this will not result in the sound of the overall album as he describes the rest of the album to be "balls-to-the-wall kind of stuff", adding that it would be released in 2013.


title: Asking Alexandria

text: In November the band headlined in Monster Energy's 'Outbreak Tour' throughout November and December across North America with support acts As I Lay Dying, Memphis May Fire, Attila and I See Stars who replaced Suicide Silence who had issues regarding the death of their singer, Mitch Lucker. Also in November the band performed at Metalfest California along the likes of Killswitch Engage, As I Lay Dying and Black Veil Brides. On 30 November the band released an EP exclusively through "Revolver Magazine" for free via subscription, containing covers of 80's rock bands including; Whitesnake, Journey, Def Leppard and Mötley Crüe, along with their song Run Free released earlier that year.


title: Asking Alexandria

text: Towards the end of their Outbreak tour, Danny Worsnop sustained a torn vocal cord, causing him to sit out the New York performance and allow the singers of Atilla and I See Stars, along with a multi-talented roadie to perform vocal duties. Despite the injury the singer later performed at the memorial concert for Suicide Silence's Mitch Lucker in order to raise money for his now fatherless daughter.


title: Asking Alexandria

text: After Worsnop tore his vocal cord in December 2012, he visited a doctor weeks prior to the events of January 2013, giving an update that he will need to rest his vocals until he has recovered fully but also reassured fans that this will not hinder the release of their third album as the majority of the recording had been complete before his injury. In January they performed a short headline tour across the UK with support acts Motionless in White and Betraying the Martyrs. In late March, the band released the first song of their third album titled "The Death of Me", and announced that the album will be released later that year in Summer. The official release date was later revealed to be 6 August with the album title, From Death to Destiny.


title: Asking Alexandria

text: The band toured across America in April and June with Whitechapel, Motionless In White, Chimaira and I Killed The Prom Queen, dubbing the tour 'Don't Pray For Us'. Also in April the band partook in the Rocklahoma festival. The band also performed at Rock on the Range festival in mid May. The band later performed at Rock AM Ring in Germany, Download in England, Graspop in Belgium and also With Full Force in Australia in June.


title: Asking Alexandria

text: "From Death to Destiny" was successfully released on 6 August, and became the band's highest-charting album to date and their label's highest first-week selling album, debuting at 5 on the Billboard 200 and selling over 41,000 units. In September the band participated in the annual Aftershock Festival and later toured with nu metal band Korn in America in September and October as a support act, along with Love and Death. The band embarked on their own ‘From Death to Destiny’ tour in October after touring with Korn, featuring support acts All That Remains, Sevendust and Emmure, across America.


title: Asking Alexandria

text: In 2014 the band performed at Soundwave in Australia in February and later released a cover of Nine Inch Nails song Closer for the compilation Punk Goes 90s Vol. 2 issued by Fearless Records in April, making it their second time they have recorded for the series. In March 2014, the lead single from their debut album, "Final Episode (Let's Change the Channel)" was certified gold by the RIAA. Asking Alexandria was one of the main headlining bands in the annual Never Say Never Festival on 12 March, along with Bring Me the Horizon also headlining the festival. They later embarked on another headlining tour in North America, dubbed as the 'Break Down The Walls' tour, starting in March and ending in April, with support acts August Burns Red, We Came as Romans, Crown The Empire and Born of Osiris. The band also performed in South Africa in May.


title: Asking Alexandria

text: In July, the band was announced as the nominees for "Alternative Press'" first Music Awards, nominated for Best Live Band and Best International Band and also performed at the ceremony itself, covering Duran Duran's Hungry Like the Wolf featuring guest vocals from Jonathan Davis. On 15 December 2014, the band released their first official live DVD titled "Live From Brixton And Beyond" which features the bands sold-out London show at the O2 Academy Brixton, as well as behind-the-scenes and backstage footage from the performance, it also includes the unseen Reckless Halloween performance at The Wiltern in Los Angeles, all of the band's music videos and the 'Through Sin and Self-Destruction' short film.


title: Asking Alexandria

text: On 22 January 2015, lead singer Danny Worsnop announced his departure from the band to focus on rock music with his new band We Are Harlot. He also stated that despite his departure, the band would continue touring. Lead guitarist Ben Bruce announced that there would be a new lead singer. Fans reacted to news in distress as they believe he was essential to the band's sound, while others were not surprised by his career move, some going as far to say he performs better with his new band We Are Harlot than he does with Asking Alexandria. When Bruce was queried regarding his status with Worsnop he stated that he felt abandoned long before his departure since Worsnop's lost the care for screaming and heavier music since their release of their second album, and continued to say that he would not know if he could call him and Worsnop friends.


title: Asking Alexandria

text: When Bruce was asked regarding the sound of the fourth album, he stated that while it will feature influences of Guns N' Roses and Van Halen it will also feature influences from modern bands such as Avenged Sevenfold and Slipknot, stating that since the third album was such an unexpected change in musical style he believes that fans will expect further experimentation on the next, therefore having less backlash from their fan base. He has also stated that they started writing material for the album while on tour in summer of 2014 and had written around 18 tracks, and estimates that it will be released between July and August 2015.


title: Asking Alexandria

text: On 26 May 2015, Denis Stoff, formerly the guitarist and vocalist of Ukrainian metalcore bands Make Me Famous and Down & Dirty, was revealed as the new lead vocalist when the band released "I Won't Give In", their first single with him, on 27 May. Speculation regarding Stoff's involvement started shortly after Worsnop's departure due to similarities between Asking Alexandria and Make Me Famous (who were said to have been ripping off the band's sound); the fact that they were label mates would have made the transition easy for Stoff to make, and on his personal YouTube account he had covered multiple Asking Alexandria songs. Bruce was asked if he considered anyone else for the role and he stated that "It has to be Denis" going on to praise his much greater vocal range and since he was inspired by Worsnop in the earlier stages of Asking Alexandria he can perform their songs live much better than Worsnop could, however when Stoff himself was asked how he would distinguish himself from him, he stated he would not make any comparison since he is a completely different person.


title: Asking Alexandria

text: The band initially planned to perform for the first time with Stoff on 31 May at Manchester Academy 3 and at London Underworld a day after, however due to Stoff being unable to secure a visa in time for the shows, they had to cancel. They have also been announced as one of the acts for the 2015 Rock Am Ring and Rock Im Park Festivals in Germany in early June.<ref name="rock am ring / rock im park festivals 2015"></ref> The band also announced that they will be performing at the 2015 Vans Warped Tour.


title: Asking Alexandria

text: In October, on their headlining tour through Europe, the band announced that the original plan to release the album in October/November has changed and that the fans can expect the album in early 2016 with a new single and music video in November. In late December it was revealed that the album's title was going to be "The Black" and is expected to be released in March 2016, and will be supporting British metal band Bullet for My Valentine in North America from 2 February to 7 March, dubbed the British Invasion tour.


title: Asking Alexandria

text: In mid-October 2016, it was speculated that the band had settled their differences with original lead vocalist Danny Worsnop and that some sort of collaborative effort would be made after several pictures were posted of Worsnop and Bruce in the studio together. However, it was revealed two days later that Worsnop had actually returned to the band as an official member after the departure of Denis Stoff. Ben Bruce explained that after a long period of time of not communicating with the band, Stoff stated, "Asking Alexandria does not exist unless I get what’s owed to me". Worsnop also opened up about his return to the band, stating that "this is something that [he] can embrace again". When the band performed again for the first time with Worsnop since Stoff's departure, their set list excluded all songs from their most recent album "The Black" and instead consisted of songs that they had not performed in years. This occurred just as the band headlined Sumerian's "Ten Years in the Black Tour" supported by Veil of Maya, Born of Osiris, I See Stars, Upon a Burning Body, After the Burial, and Bad Omens. As time went on more information regarding Stoff had been released, such as that Stoff had lip-synced the band's older songs during live performances, an accusation made by Worsnop's lawyers who notified him after sending Stoff a cease and desist. When asked about Stoff's time as his replacement, Worsnop replied stating that "Replace is a strong word. He was just keeping my seat warm. Honestly, I don’t know the kid so I have no opinion of him as a person…" Stoff stated that his departure was due to personal stress caused by the unrest in his home country of Ukraine.


title: Asking Alexandria

text: The band released their first studio material with Worsnop back in the band on 21 September 2017, the single "Into the Fire" which would be the lead single from their upcoming album. The band released a second single from the album, entitled "Where Did It Go?", on 25 October 2017. On 15 December 2017, the band released their self-titled fifth studio album. The album marked a significant stylistic shift from the band's earlier metalcore work, incorporating influences from a wide pool of genres including stadium rock.


title: Asking Alexandria

text: On 11 July 2019, the band released their new song called "The Violence". On 6 December, the band unveiled the dubstep remix of their song, "The Violence" by the electronic artist "Sikdope". The band would go on to finish the year off by re-releasing their fifth album as a belated Christmas present to fans and as an anniversary to their much acclaimed album. The re-release features six bonus tracks including a rock rendition of a previous track, a demo, an acoustic track, a cover and a mash-up.


title: Asking Alexandria

text: The band announced their headline tour after two years along with Falling in Reverse, Wage War and Hyro the Hero, the tour is called 'Like A House On Fire World Tour'. It is intended to be a world tour. On 11 February 2020, the band announced that a new single named "They Don't Want What We Want (And They Don't Care)" would premiere on Octane on 12 February.


title: Asking Alexandria

text: On 4 March, the band announced their upcoming sixth studio album titled "Like a House on Fire" set for release on 15 May 2020. At the same day, the band released the third single of the album titled "Antisocialist" and its corresponding music video. On 15 April, the band released the fourth single "Down to Hell" alongside an accompanying lyric video. On 11 May, four days before the album release, the band released their fifth single "House on Fire".


title: Asking Alexandria

text: On 7 June 2021, the band announced that they signed to Better Noise Music. On 20 August, the band surprise released a brand new single "Alone Again" from their seventh studio album, "See What's on the Inside", which was released on 1 October 2021. At the same time, the band revealed the album cover and the track list. Guitarist Ben Bruce commented about the track: "'Alone Again' and the rest of this album is the result of us reconnecting and falling back in love with why we started this band in the first place. No frills or cheap tricks, just the five of us playing our instruments as hard and as loud as we can!"


title: Asking Alexandria

text: On 31 August, the band unveiled the official music video for "Alone Again". On 23 September, one week before the album release, the band teased on their social media the song "Faded Out" which would be available on 1 October. To promote the album, the band also announced that they will support A Day to Remember's rescheduled "The Re-Entry Tour" along with Point North in September 2021. On 27 September, the group announced their headlining European/UK Tour 2022 to support the album. On 1 October, in celebration of the album release, the band debuted the music video for the song "Never Gonna Learn". An EP for that single, "Never Gonna Learn", was released on 21 January 2022, containing two songs from "See What's on the Inside" and two new songs, including "New Devil" which features Maria Brink of In This Moment. On 20 May 2022, the band released a new version of another song from "See What's on the Inside", "Faded Out", featuring Sharon den Adel of Within Temptation (credited as the band's name). This new version is scheduled to be on the soundtrack of the upcoming movie "The Retaliators".


title: Asking Alexandria

text: The band's music has mostly been described as metalcore, hard rock, heavy metal, post-hardcore, and screamo. Their early work has been described as electronicore. Their first two Sumerian albums, 2009's "Stand Up and Scream" and 2011's "Reckless & Relentless", are both generally considered to be metalcore albums, while their fourth album, 2013's "From Death to Destiny", is influenced by heavy metal and rock bands while maintaining Asking Alexandria's signature metalcore sound on certain tracks. Guitarist Ben Bruce has stated that they do not like writing music that sounds the same from album to album, which is why their musical style has changed over time.


title: Asking Alexandria

text: Ben Bruce has expressed the feeling that the band's lyrical style before "Reckless & Relentless" was immature. According to Bruce, the band wanted to move on from yelling out lyrics like "fuck" and "you stupid fucking whore" to a more mature style with more meaning. He stated that "From Death to Destiny" is lyrically their most mature album, no longer focusing on subjects such as drugs and women, and much more meaningful than their older lyrics. Danny Worsnop has claimed that the band's lyrics are never written before entering the studio and are always improvised during the recording of an album.


title: Asking Alexandria

text: All of the band's members have expressed their passion for 1980s rock music, and demonstrated it with releases such as the "Life Gone Wild" EP featuring covers of two Skid Row songs or the "" EP featuring covers of songs by bands such as Journey, Mötley Crüe, Whitesnake and Def Leppard. Their third studio album "From Death to Destiny" is heavily influenced by such bands. Some of their favorite artists include Guns N' Roses, Metallica, Mötley Crüe, Sebastian Bach, Skid Row and Van Halen, but they also take influence from modern bands such as Slipknot and Avenged Sevenfold.


title: Centripetal force

text: A centripetal force (from Latin "centrum", "center" and "petere", "to seek") is a force that makes a body follow a curved path. Its direction is always orthogonal to the motion of the body and towards the fixed point of the instantaneous center of curvature of the path. Isaac Newton described it as "a force by which bodies are drawn or impelled, or in any way tend, towards a point as to a centre". In Newtonian mechanics, gravity provides the centripetal force causing astronomical orbits.


title: Centripetal force

text: One common example involving centripetal force is the case in which a body moves with uniform speed along a circular path. The centripetal force is directed at right angles to the motion and also along the radius towards the centre of the circular path. The mathematical description was derived in 1659 by the Dutch physicist Christiaan Huygens.


title: Centripetal force

text: The magnitude of the centripetal force on an object of mass "m" moving at tangential speed "v" along a path with radius of curvature "r" is:


title: Centripetal force

text: where formula_3 is the centripetal acceleration and formula_4 is the difference between the velocity vectors. Since the velocity vectors in the above diagram have constant magnitude and since each one is perpendicular to its respective position vector, simple vector subtraction implies two similar isosceles triangles with congruent angles – one comprising a base of formula_4 and a leg length of formula_6, and the other a base of formula_7 (position vector difference) and a leg length of formula_8:


title: Centripetal force

text: The direction of the force is toward the center of the circle in which the object is moving, or the osculating circle (the circle that best fits the local path of the object, if the path is not circular).


title: Centripetal force

text: The speed in the formula is squared, so twice the speed needs four times the force. The inverse relationship with the radius of curvature shows that half the radial distance requires twice the force. This force is also sometimes written in terms of the angular velocity "ω" of the object about the center of the circle, related to the tangential velocity by the formula


title: Centripetal force

text: In particle accelerators, velocity can be very high (close to the speed of light in vacuum) so the same rest mass now exerts greater inertia (relativistic mass) thereby requiring greater force for the same centripetal acceleration, so the equation becomes:


title: Centripetal force

text: In the case of an object that is swinging around on the end of a rope in a horizontal plane, the centripetal force on the object is supplied by the tension of the rope. The rope example is an example involving a 'pull' force. The centripetal force can also be supplied as a 'push' force, such as in the case where the normal reaction of a wall supplies the centripetal force for a wall of death or a Rotor rider.


title: Centripetal force

text: Newton's idea of a centripetal force corresponds to what is nowadays referred to as a central force. When a satellite is in orbit around a planet, gravity is considered to be a centripetal force even though in the case of eccentric orbits, the gravitational force is directed towards the focus, and not towards the instantaneous center of curvature.


title: Centripetal force

text: Another example of centripetal force arises in the helix that is traced out when a charged particle moves in a uniform magnetic field in the absence of other external forces. In this case, the magnetic force is the centripetal force that acts towards the helix axis.


title: Centripetal force

text: Below are three examples of increasing complexity, with derivations of the formulas governing velocity and acceleration.


title: Centripetal force

text: Uniform circular motion refers to the case of constant rate of rotation. Here are two approaches to describing this case.


title: Centripetal force

text: In two dimensions, the position vector formula_22, which has magnitude (length) formula_8 and directed at an angle formula_24 above the x-axis, can be expressed in Cartesian coordinates using the unit vectors formula_25 and formula_26:


title: Centripetal force

text: The velocity formula_32 and acceleration formula_33 of the motion are the first and second derivatives of position with respect to time:


title: Centripetal force

text: The term in parenthesis is the original expression of formula_22 in Cartesian coordinates. Consequently,


title: Centripetal force

text: negative shows that the acceleration is pointed towards the center of the circle (opposite the radius), hence it is called "centripetal" (i.e. "center-seeking"). While objects naturally follow a straight path (due to inertia), this centripetal acceleration describes the circular motion path caused by a centripetal force.


title: Centripetal force

text: The image at right shows the vector relationships for uniform circular motion. The rotation itself is represented by the angular velocity vector Ω, which is normal to the plane of the orbit (using the right-hand rule) and has magnitude given by:


title: Centripetal force

text: with "θ" the angular position at time "t". In this subsection, d"θ"/d"t" is assumed constant, independent of time. The distance traveled dℓ of the particle in time d"t" along the circular path is


title: Centripetal force

text: which, by properties of the vector cross product, has magnitude "r"d"θ" and is in the direction tangent to the circular path.


title: Centripetal force

text: In words, the acceleration is pointing directly opposite to the radial displacement r at all times, and has a magnitude:


title: Centripetal force

text: where vertical bars |...| denote the vector magnitude, which in the case of r("t") is simply the radius "r" of the path. This result agrees with the previous section, though the notation is slightly different.


title: Centripetal force

text: When the rate of rotation is made constant in the analysis of nonuniform circular motion, that analysis agrees with this one.


title: Centripetal force

text: The upper panel in the image at right shows a ball in circular motion on a banked curve. The curve is banked at an angle "θ" from the horizontal, and the surface of the road is considered to be slippery. The objective is to find what angle the bank must have so the ball does not slide off the road. Intuition tells us that, on a flat curve with no banking at all, the ball will simply slide off the road; while with a very steep banking, the ball will slide to the center unless it travels the curve rapidly.


title: Centripetal force

text: Apart from any acceleration that might occur in the direction of the path, the lower panel of the image above indicates the forces on the ball. There are "two" forces; one is the force of gravity vertically downward through the center of mass of the ball "mg, where "m" is the mass of the ball and g is the gravitational acceleration; the second is the upward normal force exerted by the road at a right angle to the road surface "ma. The centripetal force demanded by the curved motion is also shown above. This centripetal force is not a third force applied to the ball, but rather must be provided by the net force on the ball resulting from vector addition of the normal force and the force of gravity. The resultant or net force on the ball found by vector addition of the normal force exerted by the road and vertical force due to gravity must equal the centripetal force dictated by the need to travel a circular path. The curved motion is maintained so long as this net force provides the centripetal force requisite to the motion.


title: Centripetal force

text: The horizontal net force on the ball is the horizontal component of the force from the road, which has magnitude . The vertical component of the force from the road must counteract the gravitational force: , which implies . Substituting into the above formula for yields a horizontal force to be:


title: Centripetal force

text: On the other hand, at velocity |v| on a circular path of radius "r", kinematics says that the force needed to turn the ball continuously into the turn is the radially inward centripetal force F of magnitude:


title: Centripetal force

text: Consequently, the ball is in a stable path when the angle of the road is set to satisfy the condition:


title: Centripetal force

text: As the angle of bank "θ" approaches 90°, the tangent function approaches infinity, allowing larger values for |v|/"r". In words, this equation states that for greater speeds (bigger |v|) the road must be banked more steeply (a larger value for "θ"), and for sharper turns (smaller "r") the road also must be banked more steeply, which accords with intuition. When the angle "θ" does not satisfy the above condition, the horizontal component of force exerted by the road does not provide the correct centripetal force, and an additional frictional force tangential to the road surface is called upon to provide the difference. If friction cannot do this (that is, the coefficient of friction is exceeded), the ball slides to a different radius where the balance can be realized.


title: Centripetal force

text: As a generalization of the uniform circular motion case, suppose the angular rate of rotation is not constant. The acceleration now has a tangential component, as shown the image at right. This case is used to demonstrate a derivation strategy based on a polar coordinate system.


title: Centripetal force

text: Let r("t") be a vector that describes the position of a point mass as a function of time. Since we are assuming circular motion, let , where "R" is a constant (the radius of the circle) and u is the unit vector pointing from the origin to the point mass. The direction of u is described by "θ", the angle between the x-axis and the unit vector, measured counterclockwise from the x-axis. The other unit vector for polar coordinates, u is perpendicular to u and points in the direction of increasing "θ". These polar unit vectors can be expressed in terms of Cartesian unit vectors in the "x" and "y" directions, denoted formula_50 and formula_51 respectively:


title: Centripetal force

text: This result for the velocity matches expectations that the velocity should be directed tangentially to the circle, and that the magnitude of the velocity should be . Differentiating again, and noting that


title: Centripetal force

text: These equations express mathematically that, in the case of an object that moves along a circular path with a changing speed, the acceleration of the body may be decomposed into a perpendicular component that changes the direction of motion (the centripetal acceleration), and a parallel, or tangential component, that changes the speed.


title: Centripetal force

text: The above results can be derived perhaps more simply in polar coordinates, and at the same time extended to general motion within a plane, as shown next. Polar coordinates in the plane employ a radial unit vector u and an angular unit vector u, as shown above. A particle at position r is described by:


title: Centripetal force

text: where the notation "ρ" is used to describe the distance of the path from the origin instead of "R" to emphasize that this distance is not fixed, but varies with time. The unit vector u travels with the particle and always points in the same direction as r("t"). Unit vector u also travels with the particle and stays orthogonal to u. Thus, u and u form a local Cartesian coordinate system attached to the particle, and tied to the path traveled by the particle. By moving the unit vectors so their tails coincide, as seen in the circle at the left of the image above, it is seen that u and u form a right-angled pair with tips on the unit circle that trace back and forth on the perimeter of this circle with the same angle "θ"("t") as r("t").


title: Centripetal force

text: To evaluate the velocity, the derivative of the unit vector u is needed. Because u is a unit vector, its magnitude is fixed, and it can change only in direction, that is, its change du has a component only perpendicular to u. When the trajectory r("t") rotates an amount d"θ", u, which points in the same direction as r("t"), also rotates by d"θ". See image above. Therefore, the change in u is


title: Centripetal force

text: In a similar fashion, the rate of change of u is found. As with u, u is a unit vector and can only rotate without changing size. To remain orthogonal to u while the trajectory r("t") rotates an amount d"θ", u, which is orthogonal to r("t"), also rotates by d"θ". See image above. Therefore, the change du is orthogonal to u and proportional to d"θ" (see image above):


title: Centripetal force

text: The image above shows the sign to be negative: to maintain orthogonality, if du is positive with d"θ", then du must decrease.


title: Centripetal force

text: As a particular example, if the particle moves in a circle of constant radius "R", then d"ρ"/d"t" = 0, v = v, and:


title: Centripetal force

text: These results agree with those above for nonuniform circular motion. See also the article on non-uniform circular motion. If this acceleration is multiplied by the particle mass, the leading term is the centripetal force and the negative of the second term related to angular acceleration is sometimes called the Euler force.


title: Centripetal force

text: For trajectories other than circular motion, for example, the more general trajectory envisioned in the image above, the instantaneous center of rotation and radius of curvature of the trajectory are related only indirectly to the coordinate system defined by u and u and to the length |r("t")| = "ρ". Consequently, in the general case, it is not straightforward to disentangle the centripetal and Euler terms from the above general acceleration equation. To deal directly with this issue, local coordinates are preferable, as discussed next.


title: Centripetal force

text: Local coordinates mean a set of coordinates that travel with the particle, and have orientation determined by the path of the particle. Unit vectors are formed as shown in the image at right, both tangential and normal to the path. This coordinate system sometimes is referred to as "intrinsic" or "path coordinates" or "nt-coordinates", for "normal-tangential", referring to these unit vectors. These coordinates are a very special example of a more general concept of local coordinates from the theory of differential forms.


title: Centripetal force

text: Distance along the path of the particle is the arc length "s", considered to be a known function of time.


title: Centripetal force

text: A center of curvature is defined at each position "s" located a distance "ρ" (the radius of curvature) from the curve on a line along the normal u ("s"). The required distance "ρ"("s") at arc length "s" is defined in terms of the rate of rotation of the tangent to the curve, which in turn is determined by the path itself. If the orientation of the tangent relative to some starting position is "θ"("s"), then "ρ"("s") is defined by the derivative d"θ"/d"s":


title: Centripetal force

text: The radius of curvature usually is taken as positive (that is, as an absolute value), while the "curvature" "κ" is a signed quantity.


title: Centripetal force

text: A geometric approach to finding the center of curvature and the radius of curvature uses a limiting process leading to the osculating circle. See image above.


title: Centripetal force

text: Using these coordinates, the motion along the path is viewed as a succession of circular paths of ever-changing center, and at each position "s" constitutes non-uniform circular motion at that position with radius "ρ". The local value of the angular rate of rotation then is given by:


title: Centripetal force

text: As for the other examples above, because unit vectors cannot change magnitude, their rate of change is always perpendicular to their direction (see the left-hand insert in the image above):


title: Centripetal force

text: In this local coordinate system, the acceleration resembles the expression for nonuniform circular motion with the local radius "ρ"("s"), and the centripetal acceleration is identified as the second term.


title: Centripetal force

text: Looking at the image above, one might wonder whether adequate account has been taken of the difference in curvature between "ρ"("s") and "ρ"("s" + d"s") in computing the arc length as d"s" = "ρ"("s")d"θ". Reassurance on this point can be found using a more formal approach outlined below. This approach also makes connection with the article on curvature.


title: Centripetal force

text: To introduce the unit vectors of the local coordinate system, one approach is to begin in Cartesian coordinates and describe the local coordinates in terms of these Cartesian coordinates. In terms of arc length "s", let the path be described as:


title: Centripetal force

text: where primes are introduced to denote derivatives with respect to "s". The magnitude of this displacement is d"s", showing that:


title: Centripetal force

text: This displacement is necessarily a tangent to the curve at "s", showing that the unit vector tangent to the curve is:


title: Centripetal force

text: Orthogonality can be verified by showing that the vector dot product is zero. The unit magnitude of these vectors is a consequence of Eq. 1. Using the tangent vector, the angle "θ" of the tangent to the curve is given by:


title: Centripetal force

text: The radius of curvature is introduced completely formally (without need for geometric interpretation) as:


title: Centripetal force

text: in which the denominator is unity. With this formula for the derivative of the sine, the radius of curvature becomes:


title: Centripetal force

text: as can be verified by taking the dot product with the unit vectors u("s") and u("s"). This result for acceleration is the same as that for circular motion based on the radius "ρ". Using this coordinate system in the inertial frame, it is easy to identify the force normal to the trajectory as the centripetal force and that parallel to the trajectory as the tangential force. From a qualitative standpoint, the path can be approximated by an arc of a circle for a limited time, and for the limited time a particular radius of curvature applies, the centrifugal and Euler forces can be analyzed on the basis of circular motion with that radius.


title: Centripetal force

text: This result for acceleration agrees with that found earlier. However, in this approach, the question of the change in radius of curvature with "s" is handled completely formally, consistent with a geometric interpretation, but not relying upon it, thereby avoiding any questions the image above might suggest about neglecting the variation in "ρ".


title: Centripetal force

text: which can be recognized as a circular path around the origin with radius "α". The position "s" = 0 corresponds to ["α", 0], or 3 o'clock. To use the above formalism, the derivatives are needed:


title: Centripetal force

text: which serve to show that "s" = 0 is located at position ["ρ", 0] and "s" = "ρ"π/2 at [0, "ρ"], which agrees with the original expressions for "x" and "y". In other words, "s" is measured counterclockwise around the circle from 3 o'clock. Also, the derivatives of these vectors can be found:


title: Centripetal force

text: To obtain velocity and acceleration, a time-dependence for "s" is necessary. For counterclockwise motion at variable speed "v"("t"):


title: Centripetal force

text: where it already is established that α = ρ. This acceleration is the standard result for non-uniform circular motion.


title: Nayakan

text: Nayakan (; ) is a 1987 Indian Tamil-language gangster film written and directed by Mani Ratnam. Produced by Muktha Srinivasan, the film stars Kamal Haasan, Saranya (in her feature debut) and Karthika, with Janagaraj, Vijayan, M. V. Vasudeva Rao, Delhi Ganesh, Nizhalgal Ravi, Nassar and Tara in supporting roles. It revolves around the transformation of an ordinary slum dweller named Velu into a feared don through various stages of his life.


title: Nayakan

text: "Nayakan" is loosely based on the life of the Bombay underworld don Varadarajan Mudaliar and the American film "The Godfather" (1972). Ratnam was initially approached to remake the Hindi film "Pagla Kahin Ka" (1970) for Srinivasan and Haasan, but refused. He instead suggested two other stories, one of which impressed Haasan and became "Nayakan". Cinematography was handled by P. C. Sreeram, and editing by B. Lenin and V. T. Vijayan. Filming began in late 1986, taking place primarily in Madras and to a lesser extent, Bombay.


title: Nayakan

text: "Nayakan" was released on 21 October 1987, Diwali day. It became a critical and commercial success, running for over 175 days in theatres. Haasan's performance earned him the National Film Award for Best Actor. The film also earned the National Awards for Best Cinematography (Sreeram) and Best Art Direction (Thota Tharani). The film was India's official submission for the Academy Award for Best Foreign Language Film in 1988 at the 60th Academy Awards; however, it was not shortlisted among the final nominees. It was included in "TIME" "All-Time 100 Best Films", and News18's "100 greatest Indian films of all time". The film was remade in Hindi as "Dayavan" (1988).


title: Nayakan

text: An anti-government union leader's son Sakthivel "Velu" is arrested by the police to find his whereabouts. They trick Velu into believing them as his well-wishers and release him. When Velu meets his father, the police kill the latter. Feeling betrayed, Sakthivel stabs the police inspector and runs away to Bombay, where he is raised by Hussain, a kind-hearted smuggler living in the Dharavi slums. One day, when Hussain is ill, A young Velu, decides to carry out the smuggling activity on behalf of Hussain. His demand for a bigger commission from the smugglers enrages them, and they involve Inspector Kelkar to arrest Hussain and kill him in jail. When they close the case as suicide, Velu is enraged knowing the truth and murders Kelkar. He later takes care of Kelkar's family which consists of his wife and a mentally challenged son Ajit. Kelkar's wife knew that her husband's immorality resulted in his death.


title: Nayakan

text: Velu meets Neela, a schoolgirl forced into prostitution, who has interests to pursue her education. Her innocence and courage impress Velu, and he eventually marries her. They have two children: Surya and Charumathi. Velu's power and command gradually increases in Dharavi as he voices out in support of local people which gains him huge popularity among the masses. His rival smugglers try to murder Velu in an attack, but Neela is killed instead. After avenging Neela's death, Velu sends his children to Madras to safeguard them.


title: Nayakan

text: Years pass by, Velu's power further increases in Bombay and is fondly called "Velu Naicker" by everyone. Surya and Charumathi return to Bombay as adults after education. Surya follows Velu's footsteps, a fact that he is initially hesitant of, and later learns to accept. But when Surya is killed trying to flee the police in a botched mission, Charumathi blames Velu for the deaths of Neela and Surya. She decides to leave Bombay citing that she wants to get away from her father and his violent ways. Charumathi disowns her father and leaves his home. A new ACP, Patil is deputed in Bombay to eliminate gangsters; his first target is Velu. He collects all the evidence needed for the arrest of Velu. When Velu comes to meet Patil, he learns that Charumathi is married to him and they have a son. Patil too learns that his wife is Velu's daughter and suspects that she might help her father to flee from the police.


title: Nayakan

text: Velu absconds and his allies are arrested. He decides to surrender to the police to save them from undergoing torture in the police station. Through Charumathi, Velu sets up his surrender. Patil is shocked due to the lack of proper evidence against Velu as none comes forward from the public as a witness against the crimes committed by him. Patil meets Kelkar's widow and the now grown-up Ajit and requests to disclose the truth behind her husband's death in the court. She refuses and defends Velu's acts. But Ajit is shocked after learning the truth. Velu is produced in the court and is exonerated due to lack of valid and strong evidence. He is overcome with emotion when he meets his young grandson (Charumathi's son) Shaktivel. Velu steps out of the court amid a big cheer from his supporters, until Ajit shoots him to avenge his father's death; Velu dies on the spot.


title: Nayakan

text: In the mid 1980s, Muktha Srinivasan narrated a story inspired by the American film "The Godfather" (1972) to Sivaji Ganesan who agreed to act in the film. Amala and Kamal Haasan were also confirmed to act. However Ananthu, then an associate of Haasan, felt that it would be a Ganesan-focused film and not a Haasan film. The project was dropped. Haasan later told Srinivasan about the-then upcoming director Mani Ratnam. Ratnam had previously wanted to cast Haasan as the protagonist in his directorial debut, "Pallavi Anu Pallavi" (1983), but the collaboration could not materialise then as Haasan was committed to "Raja Paarvai" (1981) at that time.


title: Nayakan

text: Srinivasan came to Ratnam's house and gave him an envelope, which contained a cassette of the Hindi film "Pagla Kahin Ka" (1970). Ratnam, after watching the film, met Haasan and rejected the offer to remake the film. After Haasan asked him the kind of film he preferred to make, Ratnam suggested two stories: one was in the action genre similar to "Dirty Harry" (1971) and "Beverly Hills Cop" (1984), while the other was based on the life of the Bombay underworld don Varadarajan Mudaliar; the latter was finalised. Ratnam had earlier narrated this story, when it was only an idea, to producer R. C. Prakash, but it was not picked up then. Cinematography for "Nayakan" was handled by P. C. Sreeram, and editing by B. Lenin and V. T. Vijayan.


title: Nayakan

text: In September 1986, Haasan gave his schedule dates for the film to Srinivasan, and was paid 1.75 million (US$145,583 in 1987) for playing Velu. Ratnam wanted Haasan to have as realistic a look as possible. He preferred Haasan in traditional Hindu attire. Haasan was initially hesitant regarding his look and wanted to sport a beard similar to that of his old-aged look in "Sagara Sangamam" (1983), as he felt it would not give away his jaw line, which would reveal that the character was portrayed by a younger person. Ratnam, in turn, did not want Haasan to sport a look similar to "Sagara Sangamam" or any of his other previous films. Haasan ultimately sported dentures to provide some weight around his jaw for Velu's old-age look.


title: Nayakan

text: Neela, the wife of Velu, was played by Saranya, who made her debut in the film. The character was created by Srinivasan to reduce the violent content and help the film cater to family audiences. Ratnam wanted a "new face" to portray Neela as he felt only then the character would have the required zest and gusto. Saranya sent her photograph to Ratnam to audition for the role. She was later cast after a successful screen test. Saranya's father was against her being cast, but she and her mother managed to convince him. Though Ratnam has stated that Saranya was "the first and only person we saw for the role", Debashree Roy claimed that she was approached, but refused as she considered that speaking in Tamil would be difficult for her.


title: Nayakan

text: According to Suhasini, Ratnam considered her for the role of Velu's daughter Charumati; however, the role ultimately went to Karthika. Ratnam believes that Nassar was suggested to him by Haasan, when Raghuvaran was being considered for the role of the assistant commissioner Patil. Nassar shot for six days and initially believed there was nothing special in his role. He later admitted his surprise of the reach of his character post-release. Although Tara was then known mainly for playing leading roles, she accepted the supporting role of Velu's sister Shakila. She later recalled, "I didn't know what to accept and what to reject. I just grabbed whatever was offered irrespective of the character. That was a mistake." Raja Krishnamoorthy (later known as Kitty), then the General Manager at Enfield India, quit to portray Velu's father, with "Nayakan" being his debut film. Haasan wanted Tinnu Anand for the role of Ajit, the son of Inspector Kelkar (Pradeep Shakthi). Anand was reluctant since he wanted to focus on his career as a director, but after Haasan insisted, Anand accepted.


title: Nayakan

text: Ratnam initially planned to complete the shooting in 60 days and 70 rolls of film. The initial budget was 6 million (US$500,000 in 1987), but time and cost overruns increased the budget to beyond 10 million (US$830,000 in 1987). According to Srinivasan, principal photography commenced in November 1986 and the first schedule lasted for 10 days, but the scenes shot during this period were scrapped because Haasan disliked them, prompting script rewrites and causing shooting to be delayed; the rewritten script had more violence, and scenes taken from "The Godfather" and "Once Upon a Time in America" (1984). According to Ratnam, a three-day test shoot involving Haasan, unknown to Srinivasan, was done in December 1986 as the script was not yet complete. While the shots taken did not make the final cut, they helped to get the technical aspects of the film on the right track.


title: Nayakan

text: Ratnam said the first "real schedule" of "Nayakan" began in January 1987. 15 days of shooting took place in the slum areas of Dharavi. Using photographs taken there, the art director Thota Tharani created a set at Venus Studios in Madras. Thousands of junior artists were hired to recreate the atmosphere of the slum areas. Additionally, pigeons were brought for the same. Haasan helped in the make-up for the other actors in the film and asked Janagaraj and Delhi Ganesh to cut their hair so as to make their characters Selvam and Iyer in their old age scenes look convincing. One scene involved Velu telling Iyer, "Udamba paathukonga" () and Ganesh spontaneously said "Naa poraen. Naa irundhu enna panna poraen. Nee nalla irukkanum, Naickerae" (); an impressed Haasan told Ratnam to retain the improvised dialogue. Haasan used Ittar perfume for the female cast.


title: Nayakan

text: Ratnam had marked around 1.2 million (US$100,000 in 1987) for the film's action sequences. To make the sequences slick and entertaining, cinematographer and stunt sequence director Jim Allen, who was known for his work stunt sequences in "Sholay" (1975) was chosen. But after three days, he was removed from the film as he charged 200,000 per day (US$16,000 in 1987) and Srinivasan could not afford the money. Haasan brought his own gun, sparing Ratnam the usage of a prop. In the scene where Haasan chases Kelkar, he uses his own bottle of sugar glass, which he had brought from the United States. The remaining portions were shot at Bombay (now Mumbai), including the portions involving Velu's childhood life in the city. The scene featuring Neela studying for her mathematics examination was suggested by Srinivasan. Velu's childhood portions before he moves to Bombay were canned in Old Mahabalipuram Road for one and a half days. This was also the last part of the principal photography.


title: Nayakan

text: The song "Naan Sirithal Deepavali" was shot at the spot where the Taj Club House is located today. The old building previously located at that spot was called the "Indian Express Building" by film industrialists as it was adjacent to the Old office of "Indian Express". Thota Tharani converted the building's exterior into a brothel and used the opposite end of the building for Velu's house location. "Nayakan" was notable for using frame-within-the-frame technique of filmmaking. Ratnam and Haasan met Mudaliar in person, when Ratnam asked Mudaliar how he would foresee his own death; according to Haasan, Mudaliar replied that he would "either die peacefully in a hospital (which is what happened) but left to the police, who couldn't prove anything against him, they would bring him out of court and someone would slap him. This would cause a riot and they would then shoot him", which inspired the film's climax.


title: Nayakan

text: When the film was completed and the first print was ready, it was three hours long. Although Ratnam and Haasan wanted Srinivasan to release the film uncut, he felt audiences would never see the entire film due to its length, so he requested Lenin to remove the scenes which he felt were unnecessary. The result, according to Srinivasan, "gave life to the movie, along with the theme music "Thenpandi seemayilae"."


title: Nayakan

text: Haasan, Ratnam and Srinivasan have acknowledged to "Nayakan" being inspired by "The Godfather" in various scenes. These include Velu's killing of the Reddy brothers, the murder of Velu's son Surya, and Velu crying at Surya's corpse. One scene in the film involves Velu and Selvam tying their illicit cargo to large bags of salt attached to rubber inner tubes which they then dump into the sea; the cargo sinks from the weight of the salt, but when the salt dissolves the cargo bobs to the surface, by which time they have passed the customs officers. This was described by Lalitha Gopalan in her 2002 book "Cinema of Interruptions" as an homage to "Once Upon a Time in America", a view that was shared by S. Shiva Kumar of "The Hindu".


title: Nayakan

text: According to historian S. Theodore Baskaran, the film "tends to glorify violence and portrays the anti-social, smuggler-king in an approving and sympathetic way, modelling him on Robin Hood." Lalitha Gopalan notes that the film "attempts faithfully to re-create a historical period by carefully managing different aspects of the "mise en scène". More than any other detail in the "mise en scène", automobiles – different models of cars, jeeps, and vans – indicate the passage of time within the diegesis." According to a "New Straits Times" article, the film does not extol crime or violence; rather it narrates the story of a tragic character who rises from slums to untold riches and unbridled power. Ratnam has stated that the question asked by Velu's grandson, whether he is good or bad, "puts across the moral dilemma of the man in a nutshell".


title: Nayakan

text: The soundtrack was composed by Ilaiyaraaja, this being his 400th film soundtrack. Pulamaipithan wrote the lyrics for all the songs except "Nila Adhu Vanathumele", which Ilaiyaraaja himself wrote. The song "Andhi Mazhai Megam" is set in the Carnatic raga Natabhairavi, "Nee Oru Kaadhal Sangeetham" is in the Hindustani raga Desh, and "Nila Adhu Vanathumele" is in the Carnatic Keeravani.


title: Nayakan

text: The theme song "Thenpandi Cheemayile" plays for most of the film; during the introduction titles, it has the colloquial line ""yaar adichaaro"" (sung by Ilaiyaraaja), but when it plays later in the film, the line is altered to the more polished ""yaar adithaaro"" (sung by Haasan). Film critic Baradwaj Rangan asked Ratnam whether this change was an indication to the eventual refinement of Velu. Ratnam said that Ilaiyaraaja's portions were recorded first, and that when they went for recording, they had this rustic version which lacked background music, and was of folk quality. Because the song was going to be repeated throughout the film, they also wanted a more orchestral version, and in this version sung by Haasan, the language became more sophisticated. "Nee Oru Kaadhal Sangeetham" is featured on both sides of the original LP record as the second track. Though Ratnam liked the original tune Ilaiyaraaja created for "Thenpandi Cheemayile", he felt it did not suit the song's narrative; the original tune was then used for "Nila Adhu Vanathumele".


title: Nayakan

text: "Nayakan" was released on 21 October 1987, Diwali day. The Censor Board at Madras initially refused to permit the release of the film, as it was based on a living person. When Srinivasan appealed to the revising committee at Bombay, they said that they would permit the release of the film he produced a letter stating that it was not based on Mudaliar's life. Through writer Mathioli Shanmugam, Srinivasan met Mudaliar, who gave him a letter, after which the censor appellate board at Bombay permitted the release of the film. G. Venkateswaran of GV Films bought the rights of the film after Srinivasan distributed the film; Venkateswaran also received a producer's credit. It was dubbed into Telugu as "Nayakudu" and into Hindi as "Velu Nayakan". Despite the Hindi dub, it was later remade in Hindi as "Dayavan" (1988). In 2015, "Nayakan" was screened at the Habitat Film Festival.


title: Nayakan

text: "Nayakan" became a major success in many states. The film completed 214 days run in Tamil Nadu and completed 100 days in both Andhra Pradesh and Karnataka. The film ran for 25 weeks at Madras' Anand Theatre, 105 days at Grelan, 105 days at Udhayam, 175 days at Madurai Minipriya, 100 days at Salem, 85 days at Trichy's Kalaiyarangam, 100 days at Jupiter, 105 days at Coimbatore's Archana, 100 days at Bombay's Dinora and 224 at Bangalore's Pallavi. The Telugu dubbed version "Nayakadu" also completed 100 days of theatrical run.


title: Nayakan

text: "Nayakan" received critical acclaim. On 23 October 1987, N. Krishnaswamy of "The Indian Express" said, "["Nayakan"] is a rare Tamil film. Sensitivity is its hallmark. Authenticity is its lifebreath. It has the stamp of nativity. It has class. Yet, it is not an Art film. It could be a watershed in Tamil cinema; an artistically made film that could make money as well." On 1 November, "Ananda Vikatan" stated that Haasan underplayed his role well and demonstrated his histrionics as a godfather in the film well, adding that the film stood out for its sets, taking, colour, richness and international quality camera work. The magazine gave the film one of its highest marks of 60. Jayamanmadhan of "Kalki" lauded the film, saying it could be watched more than once. A 1988 review published in "Bombay: The City Magazine" described Haasan as having given a "powerhouse performance". Writing for "India Today" in 1989, Madhu Jain believed "Nayakan" deserved "a permanent place in the Indian cinema pantheon" after watching it at the 12th International Film Festival in Delhi.


title: Nayakan

text: The film was India's official submission for the Academy Award for Best Foreign Language Film in 1988 at the 60th Academy Awards; however, it was not shortlisted among the final nominees.


title: Nayakan

text: "Nayakan" became a "landmark" of popular Indian cinema. As a part of its legacy, the film has been acclaimed for being a box-office success whilst being a critical success. English journalist Phil Hardy stated in his 1997 book "The BFI Companion to Crime", "From the films that followed in the wake of "The Godfather", the most interesting is Mani Rathnam's "Nayakan" (1987) starring [Kamal Haasan] in a fictional version of the Bombay gangster Varadarajan Mudaliar's life." In 2005, the magazine "TIME" included "Nayakan" in its list of "All-Time 100 Best Films". After the film was selected by "TIME" as one of the best, insiders of the magazine spoke about Ratnam's work in the film, saying "Ratnam has no such difficulty blending melodrama and music, violence and comedy, realism and delirium, into a two-and-a-half-hour demonstration that, when a gangster's miseries are mounting, the most natural solution is to sing in the rain." The tagline given to the film by "TIME" was "A terrific gangster epic in the "Godfather" style."


title: Nayakan

text: The film was also ranked 82nd in The Moving Arts Film Journal list of greatest films of all time. "Nayakan" was also included in NDTV's list "India's 20 greatest films" at no 13. In April 2013, on the centenary of Indian cinema, News18 included the film in its list of "100 greatest Indian films of all time". When questioned by Baradwaj Rangan if he would make a sequel to "Nayakan", Ratnam said, "Never. When you finish a film, you're glad to be rid of it. You're happy you don't have to go back to that script again. Been there, done that."


title: Nayakan

text: The scenes and dialogues from the film have been parodied in various films, including "Dumm Dumm Dumm" (2001), and "Chellamae" (2004). When stand-up comedian and television anchor Bosskey launched a quirky play titled "Dada" in October 2005, he named the cast after famous characters in Tamil films. Accordingly, "Anniyan" (one of Vikram's character in the film), Badshah (Rajinikanth in "Baashha") and Velu Naicker (Haasan's role in "Nayakan") play the central characters of a family of brothers. Similarly, in the 2013 comedy film "Onbadhule Guru", in which the characters were named after popular protagonists of Tamil cinema, a member of the supporting cast was christened Velu Naicker. According to the Telugu newspaper "Eenadu", Rajinikanth, after being impressed with "Nayakan", requested Ratnam to write a similar script, but the project never materialised; its similarities with Pa. Ranjith's script for "Kabali" (2016) made him accept to star in the latter film. The famous line in the film, "Neenga Nallavara Kettavara?" (Are you good or bad?) was used in "The Punch Song", a song from the film, "Aaha Kalyanam" (2014).


title: Nayakan

text: In October 2012, coinciding with the 25th anniversary of "Nayakan", Haasan published an article in "The Hindu", titled "Of course Velu Nayakan doesn't dance", in which he recounted the making of the film. In that article, he derided Srinivasan, claiming that the latter was not happy about shooting the film in Bombay, that films "were a business" for him and he "wasn't interested in films as art". In response, Srinivasan accused Haasan of defaming him. He stated, "[Kamal Haasan] has abused me in his article, and this has deeply hurt me. I've been unable to do my job ever since I read the piece." Srinivasan wrote an article titled "Living in past glory", his rejoinder to Haasan's article, in which he accused Haasan of "distorting the facts for reasons best known to him, and undermining the contributions made by everyone." He also accused Haasan of interfering with the original screenplay by Ratnam to include sequences copied from "The Godfather" and "Once Upon a Time in America". Srinivasan, however, concluded by writing that he was not against Haasan taking credit for the film's success, as long as it was not at his expense.


title: Howard Jones (American musician)

text: Howard Jones (born July 20, 1970) is an American metalcore vocalist best known as the former lead singer of Killswitch Engage and Blood Has Been Shed. He is the current vocalist of Light the Torch, formerly known as Devil You Know, and SION with YouTuber/guitarist Jared Dines.


title: Howard Jones (American musician)

text: Jones started making music in the underground band Driven in 1996, releasing a single album. He later performed with Blood Has Been Shed from 1997 to 2004. In 2002, he joined Killswitch Engage as their new vocalist after Jesse Leach left the band. During his time with Killswitch Engage, they released two gold-certified albums, "The End of Heartache" and "As Daylight Dies".


title: Howard Jones (American musician)

text: Jones started a new band Devil You Know with guitarist Francesco Artusato (All Shall Perish) and drummer John Sankey (Devolved, Fear Factory and Divine Heresy). After Sankey's departure and his attempt to claim the copyright of the band's name, the rest of the band members started again with a fresh name, Light the Torch, with the addition of a new drummer.


title: Howard Jones (American musician)

text: In March 2021, Jones joined with heavy metal YouTuber Jared Dines and producer Hiram Hernandez to release "The Blade" as part of a new project named Sion.


title: Howard Jones (American musician)

text: Jones is an avid fisherman and owns property on the Red River of the North in Manitoba, Canada. He is a frequent guest on Jamey Jasta's podcast on the GaS Digital Network. Jones left Killswitch Engage in early 2012 to allow himself to manage his type 2 diabetes which was worsened by a hectic touring lifestyle. In 2013, Jones stated that his diabetes put him in a coma for three days.


title: Howard Jones (American musician)

text: In 2015, Jones revealed that he had struggled with anxiety and depression for a long time, which had been worsened by his rise to fame in Killswitch Engage. He revealed that he had come close to committing suicide in 2009, when he had aimed a .44 Magnum revolver at his head in his apartment in Connecticut, and that the police had intervened after being notified by a concerned neighbor. In 2018, he teamed up with his former band to raise awareness for mental health; the resulting song "The Signal Fire" appears on the 2019 album "Atonement".


title: Howard Jones (American musician)

text: Jones used to be straight edge. Today, he shares a passion for medical cannabis with friend and fellow Killswitch Engage frontman Jesse Leach.


title: Tachi

text: A is a type of traditionally made Japanese sword worn by the samurai class of feudal Japan. "Tachi" and "katana" generally differ in length, degree of curvature, and how they were worn when sheathed, the latter depending on the location of the "mei" (銘), or signature, on the tang. The "tachi" style of swords preceded the development of the "katana", which was not mentioned by name until near the end of the twelfth century. "Tachi" were the mainstream Japanese swords of the Kotō period between 900 and 1596. Even after the Muromachi period (1336–1573), when "katana" became the mainstream, "tachi" were often worn by high-ranking samurai.


title: Tachi

text: The predecessor of the Japanese sword has been called "warabitetō ()". In the middle of the Heian period (794–1185), samurai improved on the "warabitetō" to develop "kenukigata-tachi ()" -early Japanese sword-. To be more precise, it is thought that the "Emishi" improved the "warabitetō" and developed "Kenukigata-warabitetō ()" with a hole in the hilt and "kenukigatatō ()" without decorations on the tip of the hilt, and the samurai developed "kenukigata-tachi" based on these swords. "Kenukigata-tachi", which was developed in the first half of the 10th century, has a three-dimensional cross-sectional shape of an elongated pentagonal or hexagonal blade called "shinogi-zukuri" and a gently curved single-edged blade, typical features of Japanese swords. There is no wooden hilt attached to "kenukigata-tachi", and the tang ("nakago"), integrated with the blade, is directly gripped and used. The term "kenukigata" is derived from the fact the central part of tang is hollowed in the shape of an ancient Japanese tweezers ("kenuki").


title: Tachi

text: In the "tachi" developed after "kenukigata-tachi", a structure in which the hilt is fixed to the tang ("nakago") with a pin called "mekugi" was adopted. As a result, a sword with three basic external elements of Japanese swords, the cross-sectional shape of "shinogi-zukuri", a gently curved single-edged blade, and the structure of "nakago", was completed. Its shape may reflect the changing form of warfare in Japan. Cavalry were now the dominant fighting unit, and the older straight "chokutō" were unsuitable for fighting from horseback. The curved sword is a far more efficient weapon wielded by a warrior on horseback; the curve of the blade adds considerably to the downward force of a cutting action. According to historian Karl Friday, before the 13th century, there are no written references or drawings showing swords of any kind were used from horseback. However, According to Yoshikazu Kondo, bow and arrows were certainly the main weapons used in cavalry battles, but from around the Genpei War in the 12th century, the use of "tachi" on horseback increased. Early models had uneven curves with the deepest part of the curve at the hilt. As eras changed, the center of the curve tended to move up the blade.


title: Tachi

text: By the 11th century during the Heian period, "tachi" were exported to neighboring countries in Asia. For example, in the poem "The Song of Japanese Swords" Ouyang Xiu, a statesman of the Song Dynasty in China, described Japanese swords as "It is a treasured sword with a scabbard made of fragrant wood covered with fish skin, decorated with brass and copper, and capable of exorcising evil spirits. It is imported at a great cost.".


title: Tachi

text: From the Heian period (794–1185), ordinary samurai wore swords of the style called "kurourusi tachi (kokushitsu no tachi, 黒漆太刀)", which meant black lacquer "tachi". The hilt of a "tachi" is wrapped in leather or ray skin, and it is wrapped with black thread or leather cord, and the scabbard is coated with black lacquer. On the other hand, court nobles wore "tachi" decorated with precisely carved metal and jewels for ceremonial purposes. High-ranking court nobles wore swords of the style called "kazari tachi" or "kaza tachi" (飾太刀, 飾剣), which meant decorative "tachi", and lower-ranking court nobles wore simplified "kazatachi" swords of the style called "hosodachi" (細太刀), which meant thin "tachi". The "kazatachi" and "hosodachi" worn by nobles were initially straight like a "chokutō", but since the Kamakura period they have had a gentle curve under the influence of "tachi". Since "tachi" worn by court nobles were for ceremonial use, they generally had an iron plate instead of a blade.


title: Tachi

text: In the Kamakura period (1185–1333), high-ranking samurai wore "hyogo gusari tachi (hyogo kusari no tachi, 兵庫鎖太刀)", which meant a sword with chains in the arsenal. The scabbard of the "tachi" was covered with a gilt copper plate and hung by chains at the waist. At the end of the Kamakura period, simplified "hyogo gusari tachi" came to be made as an offering to the "kami" of Shinto shrines and fell out of use as weapons. On the other hand, in the Kamakura period, there was a type of "tachi" called "hirumaki tachi" (蛭巻太刀) with a scabbard covered with metal, which was used as a weapon until the Muromachi period. The meaning was a sword wrapped around a leech, and its feature was that a thin metal plate was spirally wrapped around the scabbard, so it was both sturdy and decorative, and chains were not used to hang the scabbard around the waist.


title: Tachi

text: The Mongol invasions of Japan in the 13th century during the Kamakura period facilitated a change in the designs of Japanese swords. The swordsmiths of the Sōshū school represented by Masamune studied ruined "tachi" -- broken or bent in battle -- to develop new production methods, and create innovative Japanese swords. They forged the blade using a combination of soft and hard steel to optimize the temperature and timing of the heating and cooling of the blade, resulting in a lighter and very robust blade. They also made the curve of the blade gentle, lengthened the tip linearly, widened the width from the cutting edge to the opposite side of the blade, and thinned the cross section to improve the penetration and cutting ability of the blade.


title: Tachi

text: Historically in Japan, the ideal blade of a Japanese sword is considered to be the "kotō" in the Kamakura period, and the swordsmiths from the Edo period to the present day after the "Shintō" period focused on reproducing the blade of a Japanese sword in the Kamakura period. There are more than 100 Japanese swords designated as National Treasures in Japan, of which the "Kotō" of the Kamakura period account for 80% and the "tachi" account for 70%.


title: Tachi

text: From the end of the Kamakura period to the end of the Muromachi period (1333–1573), "kawatsutsumi tachi" (革包太刀), which means a "tachi" wrapped in leather, was popular. The "kawatsutsumi tachi" was stronger than the "kurourushi tachi" because its hilt was wrapped in leather or ray skin, lacquer was painted on top of it, leather straps and cords were wrapped around it, and the scabbard and sometimes the "tsuba" (hand guard) were also wrapped in leather.


title: Tachi

text: By the 15th century, Japanese swords, including "tachi", had already gained international fame by being exported to China and Korea. For example, Korea learned how to make Japanese swords by sending swordsmiths to Japan and inviting Japanese swordsmiths to Korea. According to the record of June 1, 1430 in the "Veritable Records of the Joseon Dynasty", a Korean swordsmith who went to Japan and mastered the method of making Japanese swords presented a Japanese sword to the King of Korea and was rewarded for the excellent work which was no different from the swords made by the Japanese.


title: Tachi

text: Traditionally, "yumi" (bows) were the main weapon of war in Japan, and "tachi" and "naginata" were for close combat. The Ōnin War in the late 15th century in the Muromachi period expanded into a large-scale domestic war, in which employed farmers called "ashigaru" were mobilized in large numbers. They fought on foot using "katana" shorter than "tachi". In the Sengoku period (period of warring states) in the late Muromachi period, the war became bigger; "ashigaru" fought in a close formation using "yari" (spears) lent to them. Furthermore, in the late 16th century, "tanegashima" (muskets) were introduced from Portugal, and Japanese swordsmiths mass-produced improved products, with "ashigaru" fighting with leased guns. On the battlefield in Japan, guns and spears became main weapons in addition to bows. Due to the changes in fighting styles in these wars, the "tachi" and "naginata" became obsolete among samurai, and the "katana", which was easy to carry, became the mainstream. The dazzling-looking "tachi" gradually became a symbol of the authority of high-ranking samurai.


title: Tachi

text: From the 15th century, low-quality swords were mass-produced under the influence of the large-scale war. These swords, along with spears, were lent to recruited farmers called "ashigaru", while swords were exported. Such mass-produced swords are called "kazuuchimono", and swordsmiths of the Bisen school and Mino school produced them by division of labor. The export of Japanese sword reached its height during the Muromachi period—at least 200,000 swords were shipped to Ming Dynasty China in official trade in an attempt to soak-up the production of Japanese weapons and make it harder for pirates in the area to arm. In the Ming Dynasty of China, Japanese swords and their tactics were studied to repel pirates, and "wodao" and "miaodao" were developed based on Japanese swords.


title: Tachi

text: From this period, the tang ("nakago") of many old "tachi" were cut and shortened into "katana". This modification is called "suriage". For example, many of the "tachi" Masamune forged during the Kamakura period were converted into "katana", so his only existing works are "katana" and "tantō".


title: Tachi

text: From around the 16th century, many Japanese swords, including "tachi", were exported to Thailand, where "katana"-style swords were made and prized for battle and art work, and some of them are in the collections of the Thai royal family.


title: Tachi

text: In the Sengoku period (1467–1615) or the Azuchi–Momoyama period (1568–1600), the "itomaki tachi" ("itomaki no tachi", 糸巻太刀), which means a "tachi" wound with thread, appeared and became the mainstream of "tachi" after that. "itomaki tachi" was decorated with gorgeous lacquer decorations with lots of "maki-e" and flashy colored threads, and was used as a gift, a ceremony, or an offering to the "kami" of Shinto shrines.


title: Tachi

text: In later Japanese feudal history, during the Sengoku and Edo periods, certain high-ranking warriors of the ruling class wore their sword "tachi"-style (edge-downward), rather than with the scabbard thrust through the belt with the edge upward. This style of swords is called "handachi", "half "tachi"". In "handachi", styles were often mixed, for example, fastening to the "obi" was "katana" style, but metalworking of the scabbard was "tachi" style.


title: Tachi

text: With the rising of statism in Shōwa Japan, the Imperial Japanese Army and the Imperial Japanese Navy implemented swords called "shin guntō", worn "tachi" style (cutting-edge down).


title: Tachi

text: In the Shintō period from around 1596 in the Azuchi-Momoyama period, the traditional techniques of the Kotō period were lost, and no smith was able to reproduce the "tachi" of the Kamakura period. However, in 2014, Kunihira Kawachi succeeded in reproducing a "tachi" from the Kamakura period. He received the Masamune Prize, the highest honor as a swordsmith. On the "tachi" he forged, "midare-utsuri" (a pattern of hazy white shadows between "hamon" and "shinogi"), characteristic of the Bizen school in the Kamakura period. Nobody could win the Masamune Prize without extraordinary achievements, and in the field of "tachi" and "katana", no one won until Kawauchi for 18 years.


title: Tachi

text: With a few exceptions, "katana" and "tachi" can be distinguished from each other, if signed, by the location of the signature ("mei") on the tang. In general, the signature should be carved into the side of the tang facing outward as the sword is worn on the wielder's left waist. Since a "tachi" was worn cutting edge down, and the "katana" was worn cutting edge up, the "mei" would be in opposite locations on the tang of both types of swords.


title: Tachi

text: An authentic "tachi" had an average cutting edge length () of 70–80 cm (– in), and compared to a katana, was generally lighter in proportion to its length, had a greater taper from hilt to point, was more curved and had a smaller point area for penetrating heavy clothing.


title: Tachi

text: Unlike the traditional manner of wearing the "katana", the "tachi" was worn hung from the belt with the cutting-edge down, and was most effective used by cavalry. Deviations from the average length of "tachi" have the prefixes "ko-" for "short" and "ō-" for "great, large" attached. For instance, "tachi" "shōtō" and closer in size to a "wakizashi" were called "kodachi". The longest "'tachi" (considered a 15th-century "ōdachi") in existence is in total length with a blade, but is believed to be ceremonial. In the late 1500s and early 1600s, many "tachi" blades were modified into "katana"; their cut tangs ("o-suriage"), removing the smith signatures from the swords.


title: Tachi

text: For a sword to be worn in "tachi" style, it needed to be mounted in a "tachi koshirae". The "tachi koshirae" has two hangers (ashi) so the sword can be worn in a horizontal position with the cutting edge down. A sword not mounted in a "tachi" koshirae could be worn "tachi" style by use of a "koshiate", a leather device allowing any sword to be worn in the "tachi" style.


title: Tachi

text: Generally, the blade and the sword mounting of Japanese swords are displayed separately in museums, and this tendency is remarkable in Japan. For example, the Nagoya Japanese Sword Museum "Nagoya Touken World", one of Japan's largest sword museums, posts separate videos of the blade and the sword mounting on its official website and YouTube.


title: AleXa

text: Alexaundra Christine Schneiderman (born December 9, 1996), known professionally as AleXa () and formerly Alex Christine (), is an American singer based in South Korea. After competing in both seasons of the reality show "Rising Legends", AleXa signed with Zanybros' ZB Label in 2018 and trained there for roughly two and a half years. During this time, she also competed on Mnet's "Produce 48". She debuted as a K-pop singer in October 2019. In 2022, she represented her home state Oklahoma in NBC's "American Song Contest" with the song "Wonderland" where she won with 710 points.


title: AleXa

text: AleXa was born Alexaundra Christine Schneiderman on December 9, 1996, in Tulsa, Oklahoma, to a Russian American father and a South Korean mother. AleXa’s mother was adopted at age five by her adoptive American parents from an orphanage in Goyang, Gyeonggi Province, where she last saw her brother. AleXa is the elder of two siblings and has a younger brother.


title: AleXa

text: As a child, AleXa took dancing lessons for various genres, including ballet, jazz, hip hop, and tap. She began to dance when she was eighteen months old and continued into mid-high school. She attended Jenks High School where she was a member of the show choirs Jenks Varsity Pom and the Jenks Trojanaires, which competed nationally. She attended Tulsa Community College, where she participated in theatre. AleXa was an avid K-pop fan and created both an Instagram and Snapchat account dedicated to covering K-pop songs and choreography while in school.


title: AleXa

text: In 2016, under the name Alex Christine, she participated in the "Rising Legends" online audition run by "Soompi". The competition was organized in partnership with JYP Entertainment. In 2017, she competed on "Rising Legends" again when "Soompi" partnered with Cube Entertainment. Despite placing #1 in the dance category the first time and the overall winner the second, she did not make it into either of the companies' trainee programs and instead signed with ZB Label as their first (and as of 2022, only) in-house artist. In 2018, AleXa competed on "Produce 48" and was eliminated in the first round at #82.


title: AleXa

text: In 2019, AleXa released her debut single album titled "Bomb" on October 19. She collaborated with rock band Diablo to release a rock version of the song on December 13.


title: AleXa

text: In 2020, she announced her first mini-album with the release of the trailer "A.I Trooper" on February 24. The music video "Do or Die" was released on March 6. The mini-album, also titled "Do or Die", was released on April 1. AleXa collaborated with girl group Dreamcatcher and boy group IN2IT to release the single "Be The Future" for the Millenasia Project on May 6. The project, supported by UNESCO's Global Education Coalition, was released to bring attention to the importance of education and safety during the COVID-19 pandemic. On July 16, AleXa released the music video for "Villain" () from her upcoming second mini-album titled "Decoherence". She released the mini-album alongside the music video for "Revolution" on October 21.


title: AleXa

text: In 2021, AleXa released her digital single "Never Let You Go" () on January 14. She collaborated with rock band Onewe to release an acoustic version of the song on February 8. On April 12, AleXa released the OST "I Miss You Every Day" for the TV Chosun drama "Somehow Family". On May 18, Spotify announced its third RADAR collaboration in the MENA region, bringing together AleXa and Bader AlShuaibi, a Kuwaiti-Saudi pop singer. The song "Is It On" was released on May 21. AleXa released her second single album "ReviveR" and its lead track "Xtra" on July 1. She collaborated with all-female rock band Rolling Quartz to release the rock version of the song on August 25.


title: AleXa

text: In 2022, AleXa released her third single album "Tattoo" on January 6. On March 3, AleXa was announced as one of the contestants to compete in the "American Song Contest", representing Oklahoma with the song "Wonderland". On May 9th, 2022 it was announced she won the competition.


title: AleXa

text: In October 2022, AleXa announced that it would release her third mini album "Girls Gone Vogue" on November 11.On October 31st, ZB Label announced that the album promotions scheduled for this week have been postponed due to the Seoul Halloween crowd crush.


title: AleXa

text: From June 23 to August 4, 2020, AleXa served as a guest host on the podcast "How Did I Get Here?", often shortened to "HDIGH". On August 7, 2020, Dive Studios announced on their Twitter that she would become a permanent fixture on the show alongside original host Jae Park from Korean band Day6. The podcast won the "People's Choice" and "Entertainment" category at the Podcast Award in 2020. It also went on to win Best Podcast 2020 from Apple Podcasts.


title: AleXa

text: On January 29, 2021, AleXa created a new YouTube channel called "AleXa 360" focusing on vlogs and behind the scenes footage.


title: AleXa

text: On March 18, it was announced that AleXa would be making her acting debut in the anthology horror film, "Urban Myths".


title: Contempt of court

text: Contempt of court, often referred to simply as "contempt", is the crime of being disobedient to or disrespectful toward a court of law and its officers in the form of behavior that opposes or defies the authority, justice, and dignity of the court. A similar attitude toward a legislative body is termed contempt of Parliament or contempt of Congress. The verb for "to commit contempt" is contemn (as in "to contemn a court order") and a person guilty of this is a contemnor.


title: Contempt of court

text: There are broadly two categories of contempt: being disrespectful to legal authorities in the courtroom, or willfully failing to obey a court order. Contempt proceedings are especially used to enforce equitable remedies, such as injunctions. In some jurisdictions, the refusal to respond to subpoena, to testify, to fulfill the obligations of a juror, or to provide certain information can constitute contempt of the court.


title: Contempt of court

text: When a court decides that an action constitutes contempt of court, it can issue an order in the context of a court trial or hearing that declares a person or organization to have disobeyed or been disrespectful of the court's authority, called "found" or "held" in contempt. That is the judge's strongest power to impose sanctions for acts that disrupt the court's normal process.


title: Contempt of court

text: A finding of being in contempt of court may result from a failure to obey a lawful order of a court, showing disrespect for the judge, disruption of the proceedings through poor behavior, or publication of material or non-disclosure of material, which in doing so is deemed likely to jeopardize a fair trial. A judge may impose sanctions such as a fine, jail or social service for someone found guilty of contempt of court, which makes contempt of court a process crime. Judges in common law systems usually have more extensive power to declare someone in contempt than judges in civil law systems.


title: Contempt of court

text: Contempt of court is essentially seen as a form of disturbance that may impede the functioning of the court. The judge may impose fines and/or jail time upon any person committing contempt of court. The person is usually let out upon his or her agreement to fulfill the wishes of the court. Civil contempt can involve acts of omission. The judge will make use of warnings in most situations that may lead to a person being charged with contempt if the warnings are ignored. It is relatively rare that a person is charged for contempt without first receiving at least one warning from the judge. Constructive contempt, also called "consequential contempt", is when a person fails to fulfill the will of the court as it applies to outside obligations of the person. In most cases, constructive contempt is considered to be in the realm of civil contempt due to its passive nature.


title: Contempt of court

text: Indirect contempt is something that is associated with civil and constructive contempt and involves a failure to follow court orders. Criminal contempt includes anything that could be considered a disturbance, such as repeatedly talking out of turn, bringing forth previously banned evidence, or harassment of any other party in the courtroom, including committing an assault against the defendant in a criminal case. There have been instances during murder trials that grieving family members of murder victims have attacked the defendants in courtrooms in plain view of judges, bailiffs, and jurors, leading to said family members to be charged with contempt. Direct contempt is an unacceptable act in the presence of the judge ("in facie curiae"), and generally begins with a warning, and may be accompanied by an immediate imposition of punishment.


title: Contempt of court

text: In Canada, contempt of court is an exception to the general principle that all criminal offences are set out in the federal Criminal Code. Contempt of court and contempt of Parliament are the only remaining common law offences in Canada.


title: Contempt of court

text: Under Federal Court Rules, Rules 466, and Rule 467 a person who is accused of Contempt needs to be first served with a contempt order and then appear in court to answer the charges. Convictions can only be made when proof beyond a reasonable doubt is achieved.


title: Contempt of court

text: If it is a matter of urgency or the contempt was done in front of a judge, that person can be punished immediately. Punishment can range from the person being imprisoned for a period of less than five years or until the person complies with the order or fine.


title: Contempt of court

text: Under Tax Court of Canada Rules of "Tax Court of Canada Act", a person who is found to be in contempt may be imprisoned for a period of less than two years or fined. Similar procedures for serving an order first is also used at the Tax Court.


title: Contempt of court

text: Different procedures exist for different provincial courts. For example, in British Columbia, a justice of the peace can only issue a summons to an offender for contempt, which will be dealt with by a judge, even if the offence was done in the face of the justice.


title: Contempt of court

text: Judges from the Court of Final Appeal, High Court, District Court along with members from the various tribunals and Coroner's Court all have the power to impose immediate punishments for contempt in the face of the court, derived from legislation or through common law:


title: Contempt of court

text: The use of insulting or threatening language in the magistrates' courts or against a magistrate is in breach of section 99 of the Magistrates Ordinance (Cap 227) which states the magistrate can 'summarily sentence the offender to a fine at level 3 and to imprisonment for 6 months.'


title: Contempt of court

text: In addition, certain appeal boards are given the statutory authority for contempt by them (e.g., Residential Care Home, Hotel and Guesthouse Accommodation, Air Pollution Control, etc.). For contempt in front of these boards, the chairperson will certify the act of contempt to the Court of First Instance who will then proceed with a hearing and determine the punishment.


title: Contempt of court

text: In England and Wales (a common law jurisdiction), the law on contempt is partly set out in case law (common law), and partly codified by the Contempt of Court Act 1981. Contempt may be classified as "criminal" or "civil". The maximum penalty for criminal contempt under the 1981 Act is committal to prison for two years.


title: Contempt of court

text: Disorderly, contemptuous or insolent behavior toward the judge or magistrates while holding the court, tending to interrupt the due course of a trial or other judicial proceeding, may be prosecuted as "direct" contempt. The term "direct" means that the court itself cites the person in contempt by describing the behavior observed on the record. Direct contempt is distinctly different from indirect contempt, wherein another individual may file papers alleging contempt against a person who has willfully violated a lawful court order.


title: Contempt of court

text: There are limits to the powers of contempt created by rulings of European Court of Human Rights. Reporting on contempt of court, the Law Commission commented that "punishment of an advocate for what he or she says in court, whether a criticism of the judge or a prosecutor, amounts to an interference with his or her rights under article 10 of the ECHR" and that such limits must be "prescribed by law" and be "necessary in a democratic society", citing Nikula v Finland.


title: Contempt of court

text: The Crown Court is a superior court according to the Senior Courts Act 1981, and Crown Courts have the power to punish contempt. The Divisional Court as part of the High Court has ruled that this power can apply in these three circumstances:


title: Contempt of court

text: Where it is not necessary to be so urgent, or where indirect contempt has taken place the Attorney General can intervene and the Crown Prosecution Service will institute criminal proceedings on his behalf before a Divisional Court of the King's Bench Division of the High Court of Justice of England and Wales.