title: Bride of Chucky

text: The "Los Angeles Times" John Anderson wrote that "Ronny Yu milks the utter inanity of Chucky's existence for all it's worth and knows the conventions of the genre well enough that horror fans should feel total gratification--in the levels of both mayhem and grotesque humor." Mick LaSalle of the "San Francisco Chronicle" wrote that "No one will confuse "Bride of Chucky" with a classic like "Bride of Frankenstein", but anyone looking for nasty laughs will be delighted." Marc Savlov of "The Austin Chronicle" gave the film a score of three-and-a-half out of five stars; he commended its visuals and "witty, pithy script", and wrote: "this fourth entry in the killer doll franchise is by far and away the best, a surprisingly affecting tale of pint-sized love and dismemberment that's remarkably well-done."


title: Bride of Chucky

text: The film was followed by multiple sequels, including "Seed of Chucky" in 2004 and the TV series "Chucky" in 2021.


title: M203 grenade launcher

text: The M203 is a single-shot 40 mm under-barrel grenade launcher designed to attach to a rifle. It uses the same rounds as the older stand-alone M79 break-action grenade launcher, which utilizes the high-low propulsion system to keep recoil forces low. Quite versatile and compatible with many rifle models, the M203 was originally designed for the U.S. M16 and its carbine variant, the M4. The launcher can also be mounted onto a C7, a Canadian version of the M16 rifle; however, this requires the prior removal of the bottom handguard.


title: M203 grenade launcher

text: Stand-alone variants of the M203 exist, as do versions designed specifically for many other rifles. The device attaches under the barrel, the launcher trigger being in the rear of the launcher, just forward of the rifle magazine. The rifle magazine functions as a hand grip when firing the M203. A separate, right-handed only, sighting system is added to rifles fitted with the M203, as the rifle's standard sights are not matched to the launcher. The version fitted to the Canadian C7 has a sight attached to the side of the launcher, either on the left or right depending on the user's needs.


title: M203 grenade launcher

text: The M203 was the only part of the army's Special Purpose Individual Weapon (SPIW) project to go into production. The M203 has been in service since 1969 and was introduced to U.S. military forces during the early 1970s, replacing the M79 grenade launcher and the conceptually similar Colt XM148 design. However, while the M79 was a stand-alone weapon (and usually the primary weapon of troops who carried it), the M203 was designed as an under-barrel device attached to an existing rifle. Because the size and weight of 40 mm ammunition limits the quantities that can be carried on patrol, and because a grenade is often not an appropriate weapon for a given engagement (i.e. when the target is at close range or near friendly troops), an under-barrel system has the advantage of allowing its user to also carry a rifle, and to easily switch between the two.


title: M203 grenade launcher

text: A new grenade launcher, the M320, will eventually replace the M203 in the United States Army. The United States Marine Corps, Air Force, Coast Guard, and Navy continued to use the older M203, although the Marines began issuing the M320 in June 2017. The M320 features an advanced day/night sight, a double-action firing mechanism (as opposed to the M203's single-action) as well as other benefits, such as an unobstructed side-loading breech.


title: M203 grenade launcher

text: The M203 grenade launcher is intended to be used as close fire support against point and area targets. The round is designed to be effective at breaking through windows and exploding inside, blowing up doors, producing multiple casualties, destroying bunkers or emplacements, and damaging or disabling soft-skinned vehicles. In the Vietnam war, U.S. Navy and Coast Guard personnel on boats would lob 40 mm grenades into the water (using the M79 grenade launcher), to preemptively attack Viet Cong swimmers ("sappers") attempting to plant explosives on anchored or moored U.S. water craft.


title: M203 grenade launcher

text: Its primary purpose is to engage enemies in dead space that cannot be reached by direct fire. A well-trained M203 gunner can use their weapon to suppress the enemy, based on movement and sight. In addition, the M203 can be used as a crowd control weapon when equipped with the M651 tactical CS (tear gas) grenade. While classified primarily as an anti-personnel weapon, the shaped charge featured in the HEDP round gives it the capability to penetrate lightly armored vehicles.


title: M203 grenade launcher

text: The M203 is able to fire a variety of different rounds for many purposes. According to the "U.S. Army Field Manual FM 3-22.31 40-MM Grenade Launcher, M203", there are eight different rounds for the M203:


title: M203 grenade launcher

text: The M203 grenade launcher system comes with a variety of components, usually including the launcher, adaptors for attachment to assault rifles, and leaf sights (which can be used with the rifle's front sight post). M203s can also come with quadrant sights, mounting to an MIL-STD 1913 Rail, or to the carrying handle of an M16 rifle.


title: M203 grenade launcher

text: There are numerous variants of the M203 manufactured in the U.S., and throughout the world, for various applications. These vary chiefly in the length of the barrel, attachment type, and quick detach (QD) capability.


title: M203 grenade launcher

text: The "standard M203" is intended for permanent attachment to the M16A1, M16A2 and M16A3 rifles, and utilizes a 12-inch rifled barrel. The M203 unmodified to an A1/A2 series will not fit on the M4 carbine series.


title: M203 grenade launcher

text: The U.S. M203A1 has a barrel of 12 inches, while the SOPMOD M203A1 has a 9-inch barrel. The M203A1 is intended for use with the M4 and M4A1 carbines, and uses a special bracket mount consisting of three screws and lacing wire. Only M203A2s consist of a quick release bracket.


title: M203 grenade launcher

text: The Canadian M203A1 by Diemaco (now Colt Canada) is a similar design with a different mounting system that does not require mounting points of the same profile as the M16A1 rifle's. The weapon's 9-inch barrel slides further forward than the standard American models, which allows longer rounds to be loaded. This model is identifiable by the increased distance between the grenade launcher's barrel axis and the rifle's. This weapon may no longer be in production, but is still in use.


title: M203 grenade launcher

text: The M203A2 is intended for use with the M4 series/M16A4 and now also authorized on the M16A2 rifle as the modular weapon system (MWS). Using standard 12-inch barrels, the grenade launcher is intended for use in concert with the Knight's Armament Company M5 RAS. The M5 MWS rail system became authorized in December 2008 for the M16A2 Rifle. An advantage of this system is the use of range-finding optics to make precise targeting easier.


title: M203 grenade launcher

text: The M203PI system is used for attachment of the M203 to other rifles, including, but not limited to, the Steyr AUG and Heckler & Koch G3, and even the MP5 sub-machine gun. Most of these other companies have since devised 40 mm grenade launchers custom integrated with the weapon.


title: M203 grenade launcher

text: The M203 DAX has a double-action trigger and longer breech opening to accommodate less-lethal rounds.


title: M203 grenade launcher

text: The M203 and M203A1 are currently manufactured by AIRTRONIC USA, Inc. of Elk Grove Village, Illinois for the U.S. Department of Defense under contract numbers W52H09-06-D-0200 and W52H09-06-D-0225. Each contract is for up to 12,000 units. Each unit is shipped with hand guard, leaf sight and quadrant range sight. The contracts unit prices vary from $840 to $1,050 each. The production rate is 1,500 units per month. The M203PI is manufactured for both the U.S. Department of Defense and for commercial sales to law enforcement agencies both in the United States and abroad, and for foreign military sales by RM-Equipment Inc. of Miami, Florida.


title: M203 grenade launcher

text: The M203 37 mm version became available on the U.S. market in 2017. It is available in a 9-inch and a 12-inch barrel version. They are scroll marked: "Launcher, Grenade M203 40mm", even though they are actually 37 mm devices. These 37 mm versions are considered a "title 1 firearm", and are not classified as "destructive devices" under the NFA. These launchers can be sold the same as regular firearms on an ATF Form 4473.


title: M203 grenade launcher

text: In the United States, M203 grenade launcher attachments fitted with the standard rifled 40 mm barrels are classified as "destructive devices" under the National Firearms Act part 26 U.S.C. 5845, 27 CFR 479.11, because they are a "non-sporting" firearm with a bore greater than one-half inch in diameter. M203s are on the civilian NFA market but are limited as most manufacturers have quit selling to the civilian markets. New M203 launchers sell for approximately $2,000 plus a $200 transfer tax, and new manufacture 40 mm training ammunition is available for $5 to $10 per cartridge, as of March 2011. High explosive 40 mm grenades are available for $400 to $500 per cartridge; however, they are exceedingly rare on the civilian market, as each grenade constitutes a destructive device on its own, and must be registered with the federal government, requiring payment of a $200 tax and compliance with storage regulations for high explosives. There are also sub-caliber adapters available for the 40 mm M203 (and M79) grenade launchers, which will allow the use of standard 12-gauge shotgun shells and .22 rimfire ammo.


title: M203 grenade launcher

text: In 2017, a 37 mm civilian version became available on the market that is not considered an NFA weapon. As the 37 mm version is not classified as a "destructive device", it can be sold to the general public on the same ATF Form 4473 as most other firearms. The 37 mm launcher can use 37 mm flare rounds already available on the market. This civilian version sells for around $2,000 and accessories such as quick detach mounts and a quadrant sight are also available.


title: M203 grenade launcher

text: The following technical data for the M203/M203A1 grenade launcher comes directly from the "U.S. Army Field Manual FM 3-22.31 40-MM Grenade Launcher, M203."


title: M203 grenade launcher

text: The 40 mm grenades used in the M203 (40 × 46 mm) are not the same as those used by the Mk 19 grenade launcher (40 × 53 mm), which are fired at higher velocities)


title: Healer (TV series)

text: Healer () is a 2014–2015 South Korean television series starring Ji Chang-wook, Park Min-young, and Yoo Ji-tae. It aired on KBS2 from December 8, 2014 to February 10, 2015 on Mondays and Tuesdays at 22:00 for 20 episodes.


title: Healer (TV series)

text: Though the drama received modest ratings in its home country, it gained a fanbase overseas and made Ji Chang-wook known outside Korea.


title: Healer (TV series)

text: A decades-old incident involving a group of five friends who ran an illegal pro-democracy broadcasting station during the Fifth Republic in South Korea brings together three different people—an illegal "night courier" with the codename "Healer" (Ji Chang-wook) who possesses top-notch fighting skills, a reporter from a second-rate tabloid news website (Park Min-young), and a famous journalist at a major broadcast station (Yoo Ji-tae). While trying to uncover the truth from that 1992 incident and a series of present day murders, they grow into honest reporters who try to blur the lines of conflict between truth and reality, even if that means fighting media honchos.


title: Newport Beach, California

text: Newport Beach is a coastal city in South Orange County, California. Newport Beach is known for swimming and sandy beaches. Newport Harbor once supported maritime industries however today, it is used mostly for recreation. Balboa Island draws visitors with a waterfront path and easy access from the ferry to the shops and restaurants.


title: Newport Beach, California

text: The Upper Bay of Newport is a canyon carved by a stream in the Pleistocene period. The Lower Bay of Newport was formed much later by sand brought along by ocean currents, which constructed the offshore beach now recognized as the Balboa Peninsula of Newport Beach.


title: Newport Beach, California

text: For thousands of years, the Tongva people lived on the land in an extensive, thriving community. The Tongva villages of Genga and Moyongna were located in Newport Beach. Throughout the 1800s, Europeans colonized the land and forcibly removed and assimilated the Tongva. Present-day Newport Beach exists upon the unceded homelands of the Tongva people, and they have a historical and continued presence as the traditional caretakers of the land.


title: Newport Beach, California

text: The State of California sold acre-plots of land for $1 a piece in the Newport area. Anglo-American inhabitation in the area grew substantially following 1870 when a 105-ton steamer named "The Vaquero," captained by Captain Samuel S. Dunnells (against warnings posted by surveyors), safely steered through the lower and upper bay of Newport where it unloaded its cargo. James Irvine upon hearing the astonishing news, quickly traveled from his home in San Francisco to the San Joaquin Ranch. Meeting in Irvine's ranch house near current day UC Irvine with his brother, Robert Irvine, and friend James McFadden, they agreed that the newly found port should be simply named "Newport" which is where Newport Beach gets its name. James McFadden built a long McFadden Wharf in 1888.


title: Newport Beach, California

text: In 1905, city development increased when Pacific Electric Railway established a southern terminus in Newport connecting the beach with downtown Los Angeles. In 1906 (with a population of 206 citizens), the scattered settlements were incorporated as the City of Newport Beach.


title: Newport Beach, California

text: Settlements were filled in on the Peninsula, West Newport, Newport Island, Balboa Island, and Lido Isle. In 1923, Corona del Mar was annexed and in 2002, Newport Coast, East Santa Ana Heights, and San Joaquin Hills were annexed. In 2008, after a long battle with the city of Costa Mesa, Newport Beach annexed West Santa Ana Heights.


title: Newport Beach, California

text: Newport Beach extends in elevation from sea level to the summit of Signal Peak in the San Joaquin Hills, but the official elevation is above sea level at a location of (33.616671, −117.897604).


title: Newport Beach, California

text: The city is bordered on the west by Huntington Beach at the Santa Ana River; on the north by Costa Mesa, John Wayne Airport, the City of Irvine and UC Irvine; and on the east by Crystal Cove State Park.


title: Newport Beach, California

text: According to the United States Census Bureau, the city has a total area of . of it is land and of it (55.07%) is water.


title: Newport Beach, California

text: Areas of Newport Beach include Corona del Mar, Balboa Island, Balboa Peninsula (also known as Balboa), Lido Peninsula, Newport Coast, San Joaquin Hills, Santa Ana Heights, and West Newport.


title: Newport Beach, California

text: Newport Harbor is a semi-artificial harbor that was formed by dredging Newport Bay estuary during the early 1900s. Several artificial islands were built, which are now covered with private homes: Newport Island, Balboa Island, Little Balboa Island, Collins Island, Bay Island, Harbor Island, Lido Isle, and Linda Isle.


title: Newport Beach, California

text: Newport Harbor once supported maritime industries such as boatbuilding, shipbuilding, and commercial fishing, but today it is used mostly for recreation. Its shores are occupied mostly by private homes and private docks. Newport Harbor has approximately 9,000 boats and is one of the largest recreational boat harbors on the U.S. west coast. It's a popular destination for all boating activities, including sailing, fishing, rowing, canoeing, kayaking, and paddleboarding.


title: Newport Beach, California

text: Commercial maritime operations today include the Catalina Flyer ferry to Catalina Island, harbor tours, sport fishing, whale watching day trips, and charters as well as a few small commercial fishing boats.


title: Newport Beach, California

text: Newport Bay is divided by the Pacific Coast Highway bridge, which is too low for most sailboats and very large boats to pass under. North of the bridge is referred to as Upper Newport Bay, or the Back Bay. South of the bridge is commonly called Lower Newport Bay, or Newport Harbor. However the Back Bay also has harbor facilities, especially the marina and launch ramp at Newport Dunes Marina.


title: Newport Beach, California

text: The north end of the Newport Harbor channels surrounding Lido Isle has several small business centers and was at one time used as a home by the fishing fleets. On the North East side of the channel, the Lido Marina Village now acts as the local port to many "Newport Party Boats" that can be rented for events, as well as small merchants and local restaurants. It also hosts the area boat show each year, and an organic "Farmers Market" on Sundays, in addition to being the port for the local Gondola Company. In 2014, the center was closed for a renovation. The Lido Village was reopened in 2017 after a complete renovation.


title: Newport Beach, California

text: In 1927, a home was built at the mouth of the entrance of Newport Harbor that came to be known as the China House of China Cove. The home was built using traditional Chinese architecture. It was a landmark in the Newport Beach Harbor until it was demolished in the 1980s. Some of the original roof can be seen on a home located in the China Cove.


title: Newport Beach, California

text: Upper Newport Bay is an estuary that was formed by a prehistoric flow of the Santa Ana River. Today it is fed by a small stream from San Diego Creek. Much of Upper Newport Bay is a protected natural area known as the Upper Newport Bay Ecological Reserve, established in 1975.


title: Newport Beach, California

text: Newport Beach has a mid-latitude semi-arid climate (Köppen climate classification "BSk") with characteristics of a warm-summer Mediterranean climate (Köppen: "Csb"). Like many Los Angeles and Orange coastal cities, Newport Beach exhibits weak temperature variation, diurnally and seasonally, compared to inland cities even a few miles from the ocean. The Pacific Ocean greatly moderates Newport Beach's climate by warming winter temperatures and cooling summer temperatures. Diurnal temperature variation is stronger during the winter than during the summer. Newport Beach does not receive enough precipitation to qualify as a true Mediterranean climate.


title: Newport Beach, California

text: The 2010 United States Census reported that Newport Beach had a population of 85,186. The population density was . The racial makeup of Newport Beach was 74,357 (87.3%) White (82.3% Non-Hispanic White), 616 (0.7%) African American, 223 (0.3%) Native American, 5,982 (7.0%) Asian, 114 (0.1%) Pacific Islander, 1,401 (1.6%) from other races, and 2,493 (2.9%) from two or more races. Hispanic or Latino of any race were 6,174 persons (7.2%).


title: Newport Beach, California

text: The Census reported that 84,784 people (99.5% of the population) lived in households, 151 (0.2%) lived in non-institutionalized group quarters, and 251 (0.3%) were institutionalized.


title: Newport Beach, California

text: There were 38,751 households, out of which 8,212 (21.2%) had children under the age of 18 living in them, 17,273 (44.6%) were opposite-sex married couples living together, 2,608 (6.7%) had a female householder with no husband present, 1,199 (3.1%) had a male householder with no wife present. There were 1,846 (4.8%) unmarried opposite-sex partnerships, and 233 (0.6%) same-sex married couples or partnerships. 12,838 households (33.1%) were individuals, and 4,412 (11.4%) had someone living alone who was 65 years or older. The average household size was 2.19. There were 21,080 families (54.4% of all households); the average family size was 2.81.


title: Newport Beach, California

text: The population was different ages with 14,744 people (17.3%) under the age of 18, 6,659 people (7.8%) aged 18 to 24, 22,299 people (26.2%) aged 25 to 44, 25,322 people (29.7%) aged 45 to 64, and 16,162 people (19.0%) who were 65 years of age or older. The median age was 44.0 years. For every 100 females, there were 97.1 males. For every 100 females aged 18 and over, there were 95.5 males.


title: Newport Beach, California

text: There were 44,193 housing units at an average density of , of which 21,224 (54.8%) were owner-occupied, and 17,527 (45.2%) were occupied by renters. The homeowner vacancy rate was 1.7%; the rental vacancy rate was 7.8%. 50,511 people (59.3% of the population) lived in owner-occupied housing units, and 34,273 people (40.2%) lived in rental housing units.


title: Newport Beach, California

text: In 2009–2013, Newport Beach had a median household income of $106,333, with 7.9% of the population living below the federal poverty line.


title: Newport Beach, California

text: As of the census of 2000, there were 70,032 people, 33,071 households, and 16,965 families residing in the city. The population density was 4,738.8 inhabitants per square mile (1,829.5/km). There were 37,288 housing units at an average density of . The racial makeup of the city was 92.22% White, 0.53% African American, 0.26% Native American, 4.00% Asian, 0.12% Pacific Islander, 1.13% from other races, and 1.74% from two or more races. Hispanic or Latino of any race were 4.71% of the population. There were 33,071 households, out of which 18.0% had children under the age of 18 living with them, 42.5% were married couples living together, 6.1% had a female householder with no husband present, and 48.7% were non-families. 35.3% of all households were made up of individuals, and 10.1% had someone living alone who was 65 years of age or older. The average household size was 2.09, and the average family size was 2.71. In the city, the population was spread out, with 15.7% under the age of 18, 6.5% from 18 to 24, 33.0% from 25 to 44, 27.2% from 45 to 64, and 17.6% who were 65 years of age or older. The median age was 42 years. For every 100 females there were 97.9 males. For every 100 females aged 18 and over, there were 96.6 males. According to a 2019 US Census estimate, the median income for a household in the city was $64,423, while the median family income was $126,976. Males had a median income of $73,425 versus $45,409 for females. The per capita income for the city was $63,015. About 2.1% of families and 4.4% of the population were below the poverty line, including 3.0% of those under age 18 and 3.5% of those age 65 or over.


title: Newport Beach, California

text: Newport Beach is home to one Fortune 500 company, insurer Pacific Life. Other companies based in Newport Beach include Acacia Research, Galardi Group (Wienerschnitzel), Chipotle Mexican Grill, The Original Hamburger Stand, Tastee-Freez, the Irvine Company, Jazz Semiconductor, PIMCO, and Urban Decay. Fletcher Jones Motor Cars in Newport Beach is the largest Mercedes-Benz dealership in the world. At one time Edwards Theatres had its headquarters in Newport Beach. Before its dissolution Air California was headquartered in Newport Beach. The city's largest law firm is Stradling Yocca Carlson & Rauth, with approximately 75 attorneys at its Fashion Island location. Toyota has a design center, Calty Design Research which is in Newport Beach and responsible for the exterior design of the 2nd, 5th, and 7th generation Celica, as well as some Lexus and Scion models.


title: Newport Beach, California

text: According to the city's 2021 Comprehensive Annual Financial Report here are the top employers in the city.


title: Newport Beach, California

text: Beachgoers have flocked to Newport Beach since the Pacific Electric Railway began bringing them in 1905. Attractions include the city beaches from the Santa Ana River to the tip of the Balboa Peninsula, Corona del Mar State Beach, and the beaches at Crystal Cove State Park. Newport Beach is known for good surfing, especially between Newport Pier and the Santa Ana River. At the tip of the Balboa Peninsula, The Wedge offers world-class bodyboarding and bodysurfing. Newport Pier and Balboa Pier draw fishermen and sightseers. A boardwalk runs from 36th Street in West Newport, past Newport Pier and Balboa Pier, to between E and F Streets on the Balboa Peninsula for both pedestrians and bikers.


title: Newport Beach, California

text: Newport Harbor is the largest recreational boat harbor on the U.S. west coast, and a popular destination for all boating activities, including sailing, fishing, rowing, kayaking, and paddleboarding.


title: Newport Beach, California

text: Competitive sailing, rowing, and paddling events are common. The annual Newport to Ensenada International Yacht Race is the largest sailboat race in the world.


title: Newport Beach, California

text: Boating activities are organized by five private yacht clubs, along with Orange Coast College, UC Irvine, and the Sea Scouts, all of which have sailing, rowing, and water activity bases on the harbor. The Newport Aquatic Center allows public participation in competitive rowing, canoeing, kayaking, and outrigger canoe racing. The Orange Coast College School of Sailing and Seamanship offers recreational and professional sailing and mariners' courses and certifications, including United States Coast Guard licensing. Weekly races take place during the summer including the Beer Can Races.


title: Newport Beach, California

text: The historic Balboa Pavilion and Balboa Island Ferry are on the Balboa Peninsula and Balboa's most famous landmarks. The 500-passenger Catalina Flyer is adjacent to the Pavilion and provides daily transportation to and from Avalon, located on Santa Catalina Island. The Balboa Fun Zone is also home to the Newport Harbor Nautical Museum.


title: Newport Beach, California

text: Balboa Island village draws many visitors. A waterfront path around the island attracts walkers and joggers and provides easy access from the ferry to the shops and restaurants.


title: Newport Beach, California

text: Fashion Island at Newport Center is a regional shopping and entertainment destination. Also at Newport Center, the Orange County Museum of Art exhibits modern and contemporary art, with emphasis on the work of Californian artists.


title: Newport Beach, California

text: Upper Newport Bay, or the Back Bay, is ringed by Back Bay Drive and a network of trails and paths that attract bicyclists, rollerbladers, joggers, and walkers. Bird watchers and nature lovers are drawn to the Upper Newport Bay Ecological Reserve and Peter and Mary Muth Interpretive Center; and Crystal Cove State Park features tide pools at its beach, with backcountry hiking and mountain biking trails. Camping is available at Crystal Cove State Park and at the Newport Dunes Waterfront Resort and Marina. Whale watching is also popular in the area, with both scheduled and charter boats leaving directly from Newport Harbor. Whales and dolphins can often be seen from the Balboa and Newport Piers, as well as the shoreline during migration season.


title: Newport Beach, California

text: Fishing is also extremely popular in Newport Bay, off the coast of Newport, and along the Newport Bay Jetty. Within the bay, there are multiple locations to purchase bait for dockside or spearfishing convenience. There are about 80 fishable species located in Newport Bay. A few of the most commonly fished species include the Gray Smoothhound Shark, Leopard Shark, Round Stingray, Shovelnose Guitarfish, Pacific Staghorn Sculpin, Silvery Mullet, Top-smelt, California Halibut, Spotted Sand Bass, Yellowfin Croaker, Bat Ray, Thornback Ray, Diamond Turbot, Shiner Surfperch, Corbina, Opaleye, Pile Surfperch, and Red Shiner. Commercial fishing is also prominent in offshore Newport Beach and Newport Bay. Lobsters are commonly fished in the reefs. However, the bright orange Garibaldi fish found offshore is a protected species.


title: Newport Beach, California

text: On dark nights intense occurrences of bioluminescence can be observed when waves splash into the shore or when marine animals leave glowing traces in their wake.


title: Newport Beach, California

text: The Pelican Hill area has two golf courses that rank among Golf Digest America's 100 Greatest Public Golf Courses.


title: Newport Beach, California

text: The City of Newport Beach was incorporated on September 1, 1906 and adopted its charter on January 7, 1955. The city implements a council–manager form of government, directed by a seven-member council who reside in specific geographic districts, but are elected at-large. Council elections take place in even-numbered years, and council members serve four-year terms. The mayor is chosen annually by the city council.


title: Newport Beach, California

text: Until 1927 the city's governing body was known as a board of trustees with a president as its head. An act of the Legislature in 1927 changed the board to City Council with a mayor as the head.


title: Newport Beach, California

text: Newport Beach has supported Republican candidates for president and governor consistently since at least 1962.


title: Newport Beach, California

text: As of February 2020, the California Secretary of State reported that Newport Beach had 57,408 registered voters; of those, 14,097 (24.56% vs. 35.63% in Orange County) are registered Democrats, 27,472 (47.85% vs. 34.16% in Orange County) are registered Republicans, 12,996 (22.64% vs. 25.29% in Orange County) have stated no political party preference, and 2,843 (4.95% vs. 4.92% in Orange County) are registered with a third party. According to a March 2018 report by the "Sacramento Bee", Newport Beach has the second highest percentage of conservative voters among large cities in California.


title: Newport Beach, California

text: The Republican candidate exceeded 70% of the vote in Newport Beach in all seven presidential elections from 1964 to 1988 and seven of the nine gubernatorial elections from 1962 to 1994.


title: Newport Beach, California

text: Although the politics of California have trended in favor of the Democratic Party, Newport Beach has remained Republican but has become less Republican over time. In 2016, as Donald Trump became the first GOP presidential candidate to lose Orange County since Alf Landon in 1936, Trump won Newport Beach by a margin of 14 points. Trump also won Newport Beach by a margin of nearly ten points in his 2020 re-election bid.


title: Newport Beach, California

text: The Newport Beach Fire Department is the agency that provides fire protection, lifeguard coverage, and emergency medical services.


title: Newport Beach, California

text: Newport Beach has 8 fire stations spread across the city, as well as a Lifeguard Headquarters at the base of the Newport Pier.


title: Newport Beach, California

text: The marine division of the NBFD is responsible for lifeguarding the nearly 10 million annual visitors to Newport Beach's of ocean and of bay beaches. In 2013 alone the marine division performed 3,811 water rescues. Newport Beach lifeguards are recognized as the top agency in the nation, considering their relatively small size. They are also recognized as an advanced agency by the United States Lifesaving Association.


title: Newport Beach, California

text: Newport Beach lifeguards also hold an annual summer Junior Lifeguard program which is one of the nation's largest and oldest. The Junior Lifeguard program works closely with the John Wayne Cancer Foundation to spread skin cancer awareness.


title: Newport Beach, California

text: Included in their area is The Wedge, a spot located at the extreme east end of the Balboa Peninsula that is known for its large wedge-shaped waves, which make it a popular spot for skimboarding, surfing, bodyboarding, and bodysurfing. During south or south/southwest swells of the right size and aligned in the swell window, the Wedge can produce huge waves up to high. Newport Beach has one of the most diverse coastlines in the world, spanning over 6 miles. For this reason the NBFD Marine Operations Division requires its ocean lifeguards to be in top shape and to have years of local ocean experience.


title: Brandon Boyd

text: Brandon Charles Boyd (born February 15, 1976) is an American singer, songwriter, musician, author and visual artist. He is best known as the lead vocalist of the American rock band Incubus, with whom he has recorded eight studio albums.


title: Brandon Boyd

text: In addition to his work with Incubus, Boyd has released two solo albums - "The Wild Trapeze" (2010) and "Echoes & Cocoons" (2022) - and has collaborated with producer Brenden O'Brien under the name Sons of the Sea.


title: Brandon Boyd

text: Boyd graduated from Calabasas High School in 1994 and attended Moorpark College for two years before committing to Incubus. Brandon grew up in Calabasas, California with Ricky Taylor who inspired him to write music. His parents, Priscilla "Dolly" Wiseman and Charles Boyd, both of whom had experience in entertainment, with his father being a former Marlboro Man, had nurtured his artistic side since he was a child. Other notable family members include his younger brother, Jason Boyd, the former lead singer of the band Audiovent, his cousin Berto Boyd, an accomplished Flamenco guitarist and composer, as well as cousin Sam Boyd, a professional motocross rider. In an interview, Brandon explained that he had "yet to stumble across his best work" because he lacked the ability to read music.


title: Brandon Boyd

text: Boyd designed concert fliers that advertised Incubus' early performances. He occasionally plays guitar during live performances and is known for bringing unusual instruments into his songs, such as the didgeridoo and djembe.


title: Brandon Boyd

text: Boyd's voice was part of what enticed Sony's Epic/Immortal Records, along with the self-released album "Fungus Amongus". The band was signed in 1996. Boyd's singing style in Incubus has often been compared to Mike Patton, vocalist of Faith No More and several other projects. Boyd has mentioned Patton as being an influence since he was an early teenager. Incubus' first two releases on the label, "Enjoy Incubus" and "S.C.I.E.N.C.E." went largely unnoticed in the mainstream but subsequent releases "Make Yourself" and "Morning View" were commercial successes. Boyd attracted a large number of female fans. In a 2001 interview, "Spin" wrote "Considering his androgynous beauty and sweet demeanor, plus Incubus' kid-tested/mother-approved guitar rock, it's no surprise he's MTV's newest weapon of mass heartbreak. Girls scream for him to take his shirt off at Incubus shows (he usually obliges) and "Teen People" recently voted him one of 'The Hottest Guys in Music.' His sensitive-guy appeal sets him apart from today's testosterone-drunk rock". The band's 2004 release "A Crow Left of the Murder..." has continued their success, nominating the band for Best Hard Rock Performance in the 2005 Grammy Awards. On November 28, 2006, the band released "Light Grenades". On June 16, 2009, Incubus released a greatest hits album titled "Monuments and Melodies".


title: Brandon Boyd

text: In 2011 Incubus finished their seventh studio album "If Not Now, When?", released on July 12, 2011, followed by a tour. It was their final release under Sony.


title: Brandon Boyd

text: On December 13, 2014, they performed their upcoming single entitled "Trust Fall" at KROQ. They announced the release of two EP's in 2015 with the first, "Trust Fall", released on March 24, 2015, through Island Records. On February 5, 2015, the single "Absolution Calling" was released. Two years later, in February 2017, Boyd and Incubus teamed with Skrillex on a collaboration that was released under the title "8" in April 2017.


title: Brandon Boyd

text: Although Boyd had been drawing his entire life, between 2003 and 2008 he focused more seriously on creating fine art, specifically painting. During this time he participated in many different group and solo art shows, using his artwork as a means for environmental activism. September 8, 2008, marked the opening of his first solo show, "Ectoplasm," at Mr. Musichead Gallery in Los Angeles, California.


title: Brandon Boyd

text: In March 2020, Boyd had planned to debut a new large-scale solo exhibit, "Impossible Knots," at the Samuel Lynne Galleries in Dallas, Texas. However, due to the COVID-19 pandemic, the in-person exhibit had to be postponed. On April 18, 2020, his work debuted online via a virtual exhibition preview on Instagram LIVE. This online debut will be followed by the in-person exhibition in Fall 2020 or Spring 2021.


title: Brandon Boyd

text: Boyd released a card-matching game called "Two Doors/Deux Portes," based on a series of his watercolor paintings.


title: Brandon Boyd

text: Boyd has written and curated three books, each of which comprise his personal illustrations, photography, song lyrics, and additional thoughts and writings. His books are "White Fluffy Clouds (2003)", "From the Murks of the Sultry Abyss (2007)", and "So the Echo (2013)," all published under his book imprint, Endophasia Publications. "So the Echo" "visually weaves" the years that Boyd spent honing his craft and his talents, both in music and art.


title: Brandon Boyd

text: In the spring of 2011, Boyd made a large mural at the Hurley Space Gallery in order to raise awareness about single use plastics and their harmful effects on the world's oceans.


title: Brandon Boyd

text: Boyd is involved with many organizations and charitable causes and in 2003, along with his Incubus bandmates, he founded the 501(c)(3) non-profit The Make Yourself Foundation, which has raised over $1.4 million for various philanthropic causes locally and globally. The organization has awarded grant funding to over 60 nonprofit organizations.


title: Brandon Boyd

text: Boyd was selected to play the role of Judas Iscariot for the North American arena tour of Andrew Lloyd Webber's rock opera "Jesus Christ Superstar". He was to play the role starting June 9 through August 17. On May 31, the tour was canceled.


title: Brandon Boyd

text: On July 6, 2010, Boyd announced that his debut solo album, "The Wild Trapeze" was released. On June 21, 2010, a music video for Boyd's first single from "The Wild Trapeze," entitled "Runaway Train," was released online. A second music video was released for the album, for the song "Last Night a Passenger" in October 2010.


title: Brandon Boyd

text: On January 18, 2013, Brandon announced his band, Sons of the Sea. With Incubus on hiatus, Sons of the Sea toured in 2013 and 2014. On May 29, 2013, Brandon released a teaser video announcing the name of the album, "Sons of the Sea". That same year, he embarked on a book-signing tour of the Northeast to coincide with his latest publication "So The Echo," as well as the release of "Sons of the Sea"'s eponymous record.


title: Brandon Boyd

text: On March 11, 2022, Brandon released his first solo album in 12 years, "Echoes & Cocoons", produced by John Congleton.


title: Brandon Boyd

text: Boyd is known for his wide variety of tattoos. On his forearms he carries the widely known mantra Om Mani Padme Hum, referring to the qualities of generosity, ethics, patience, diligence, renunciation and wisdom. Underneath that is a koi fish in red ink by Lars Johansson. On the inside of his right arm he has several tattoos, one once again incorporating the Tibetan mantra. Following the release of their album "A Crow Left of the Murder," he got an elaborate back tattoo featuring the common image of the All Seeing-Eye embedded in a pyramid. He also has a tattoo of the Eye of Horus on his right ankle. Other tattoos include his parents' names (Priscilla and Charles) on his forearms, an owl on his back, one teardrop on his index finger on both hands, and a picture inspired by Aubrey Beardsley's famous piece, "The Peacock Skirt", on his left arm.


title: Mughal-e-Azam

text: Mughal-e-Azam () is a 1960 Indian epic historical drama film produced and directed by K. Asif. Starring Prithviraj Kapoor, Dilip Kumar, Madhubala, and Durga Khote, it follows the love affair between Mughal Prince Salim (who went on to become Emperor Jahangir) and Anarkali, a court dancer. Salim's father, Emperor Akbar, disapproves of the relationship, which leads to a war between father and son.


title: Mughal-e-Azam

text: The development of "Mughal-e-Azam" began in 1944, when Asif read a 1922 play called "Anarkali," by the playwright Imtiaz Ali Taj, which is set in the reign of Emperor Akbar (1556–1605). Production was plagued by delays and financial uncertainty. Before its principal photography began in the early 1950s, the project had lost a financier and undergone a complete change of cast. "Mughal-e-Azam" cost more to produce than any previous Indian motion picture; the budget for a single song sequence exceeded that typical for an entire film of the period. The soundtrack, inspired by Indian classical and folk music, comprises 12 songs voiced by playback singer Lata Mangeshkar along with Mohammed Rafi, Shamshad Begum and classical singer Bade Ghulam Ali Khan, and is often cited among the finest in the history of Hindi cinema.


title: Mughal-e-Azam

text: "Mughal-e-Azam" had the widest release of any Indian film up to that time, and patrons often queued all day for tickets. Released on 5 August 1960, it broke box office records in India and became the highest-grossing Indian film of all time, a distinction it held for 15 years; adjusted for inflation, it is still the highest grossing Indian film of all time. The accolades awarded to the film include one National Film Award and three Filmfare Awards at the 8th Filmfare Awards. "Mughal-e-Azam" was the first black-and-white Hindi film to be digitally coloured, and the first in any language to be given a theatrical re-release. The colour version, released on 12 November 2004, was also a commercial success.


title: Mughal-e-Azam

text: The film is widely considered to be a milestone of its genre, earning praise from critics for its grandeur and attention to detail, and the performances of its cast (especially that of Madhubala, who earned a nomination for the Filmfare Award for Best Actress). Film scholars have welcomed its portrayal of enduring themes, but question its historical accuracy.


title: Mughal-e-Azam

text: Emperor Akbar, who does not have a male heir, undertakes a pilgrimage to a shrine to pray that his wife Jodhabai give birth to a son. Later, a maid brings the emperor news of his son's birth. Overjoyed at his prayers being answered, Akbar gives the maid his ring and promises to grant her anything she desires.


title: Mughal-e-Azam

text: The son, Prince Salim, grows up to be spoiled, flippant, and self-indulgent. His father sends him off to war, to teach him courage and discipline. Fourteen years later, Salim returns as a distinguished soldier and falls in love with court dancer Nadira, whom the emperor has renamed Anarkali, meaning pomegranate blossom. The relationship is discovered by the jealous Bahar, a dancer of a higher rank, who wants the prince to love her so that she may one day become queen. Unsuccessful in winning Salim's love, she exposes his forbidden relationship with Anarkali. Salim pleads to marry Anarkali, but his father refuses and imprisons her. Despite her treatment, Anarkali refuses to reject Salim, as Akbar demands.


title: Mughal-e-Azam

text: Salim rebels and amasses an army to confront Akbar and rescue Anarkali. Defeated in battle, Salim is sentenced to death by his father, but is told that the sentence will be revoked if Anarkali, now in hiding, is handed over to die in his place. Anarkali gives herself up to save the prince's life and is condemned to death by being entombed alive. Before her sentence is carried out, she begs to have a few hours with Salim as his make-believe wife. Her request is granted, as she has agreed to drug Salim so that he cannot interfere with her entombment.


title: Mughal-e-Azam

text: As Anarkali is being walled up, Akbar is reminded that he still owes her mother a favour, as it was she who brought him news of Salim's birth. Anarkali's mother pleads for her daughter's life. The emperor has a change of heart, but although he wants to release Anarkali he cannot, because of his duty to his country. He therefore arranges for her secret escape into exile with her mother, but demands that the pair are to live in obscurity and that Salim is never to know that Anarkali is still alive.


title: Mughal-e-Azam

text: The Urdu dramatist Imtiaz Ali Taj wrote a play about the love story of Salim and Anarkali in 1922, based more on a 16th-century legend than on fact. A stage version was soon produced, and screen versions followed. Ardeshir Irani made a silent film, "Anarkali", in 1928, and remade it with sound in 1935. In the early 1940s, the tale of Anarkali inspired producer Shiraz Ali Hakeem and young director K. Asif (Karimuddin Asif) to make another film adaptation which they would title "Mughal-e-Azam". They recruited four Urdu writers to develop the screenplay and dialogue: Aman (Zeenat Aman's father, also known as Amanullah Khan), Wajahat Mirza, Kamaal Amrohi, and Ehsan Rizvi. It is not known how the writers collaborated or shared out their work, but in 2010 "The Times of India" said that their "mastery over Urdu's poetic idiom and expression is present in every line, giving the film, with its rich plots and intricate characters, the overtones of a Shakespearean drama." As the script neared completion, Asif cast Chandra Mohan, D. K. Sapru, and Nargis for the roles of Akbar, Salim, and Anarkali, respectively. Shooting started in 1946 in Bombay Talkies studio.


title: Mughal-e-Azam

text: The project faced multiple hurdles, which forced its temporary abandonment. The political tensions and communal rioting surrounding India's 1947 partition and independence stalled production. Shortly after partition, Shiraz Ali migrated to Pakistan, leaving Asif without a financier. The actor Chandra Mohan suffered a heart attack and died in 1949. Shiraz Ali had previously suggested that business tycoon Shapoorji Pallonji could finance the film. Although Pallonji knew nothing about film production, in 1950 he agreed to finance the film because of his interest in the history of Akbar. Production was then restarted with a new cast.


title: Mughal-e-Azam

text: Believing that the film had been cancelled, Kamal Amrohi, one of the scriptwriters who was also a director, planned to make a film on the same subject himself. When confronted by Asif, he agreed to shelve the project. Another unrelated film production based on the same stage play was Nandlal Jaswantlal's "Anarkali", starring Bina Rai and Pradeep Kumar, which became the highest grossing Bollywood film of 1953.


title: Mughal-e-Azam

text: Asif had initially rejected Dilip Kumar for the part of Prince Salim. Kumar was reluctant to act in a period film, but accepted the role upon the insistence of the film's producer. According to Kumar, "Asif trusted me enough to leave the delineation of Salim completely to me." Kumar faced difficulty while filming in Rajasthan owing to the heat and the body armour he wore. The part of Anarkali had first been offered to Nutan, who declined it; Suraiya was considered for the role but eventually it went to Madhubala, who had been longing for a significant role. Upon signing the film, Madhubala was advancely paid a sum of 1 lakh, which was the highest for any actor/actress at that time. She suffered from congenital heart disease, which was one of the reasons why at times she fainted on set; she also endured skin abrasions while filming the prison sequences, but was determined to finish the film.


title: Mughal-e-Azam

text: To become the character of Emperor Akbar, Prithviraj Kapoor was reported to have "relied completely on the script and director". Prior to make-up, Kapoor would declare, ""Prithviraj Kapoor ab jaa rahaa hai"" ("Prithviraj Kapoor is now going"); after make-up, he would announce, ""Akbar ab aa rahaa hai"" ("Akbar is now coming"). Kapoor faced difficulty with his heavy costumes, and suffered blisters on his feet after walking barefoot in the desert for a sequence. Lance Dane, a photographer who was on set during the filming, recalled that Kapoor struggled to remember his lines in some scenes; he mentioned one scene in particular that Kapoor required 19 takes to get right. At the time of filming, Kapoor who was on a diet, was told by Asif to regain the lost weight for his portrayal of Akbar. Durga Khote was cast as Akbar's wife Jodhabai, and Nigar Sultana as the dancer Bahar. Zakir Hussain, who later became a "tabla" maestro, had initially been considered for the part of the young Prince Salim, but it became the debut role of Jalal Agha, who later performed on the song "Mehbooba Mehbooba" from "Sholay" (1975).


title: Mughal-e-Azam

text: The production design of the film, led by art director M. K. Syed, was extravagant, and some sets took six weeks to erect. The film, mostly shot in studio sets designed to represent the interior of a Mughal palace, featured opulent furnishings and water features such as fountains and pools, generating the feel of a Hollywood historical epic of the period. The song "Pyar Kiya To Darna Kya" was filmed in Mohan Studios on a set built as a replica of the Sheesh Mahal in the Lahore Fort. The set was noted for its size, measuring in length, in breadth and in height. A much-discussed aspect was the presence of numerous small mirrors made of Belgian glass, which were crafted and designed by workers from Firozabad. The set took two years to build and cost more than 1.5 million (valued at about US$314,000 in 1960), more than the budget of an entire Bollywood film at the time. The film's financiers feared bankruptcy as a result of the high cost of production.


title: Mughal-e-Azam

text: Artisans from across India were recruited to craft the props. The costumes were designed by Makhanlal and Company, and Delhi-based tailors skilled in zardozi embroidery stitched the Mughal costume. The footwear was ordered from Agra, the jewellery was made by goldsmiths in Hyderabad, the crowns were designed in Kolhapur, and blacksmiths from Rajasthan manufactured the armoury (which included shields, swords, spears, daggers, and armour). The zardozi on costumes were also stitched by designers from Surat. A statue of Lord Krishna, to which Jodhabai prayed, was made of gold. In the scenes involving an imprisoned Anarkali, real chains were placed on Madhubala. The battle sequence between Akbar and Salim reportedly featured 2,000 camels, 400 horses, and 8,000 troops, mainly from the Indian Army's Jaipur cavalry, 56th Regiment. Dilip Kumar has spoken of the intense heat during filming of the sequence in the desert of Rajasthan, wearing full armour.


title: Mughal-e-Azam

text: Principal photography for "Mughal-e-Azam" began in the early 1950s. Each sequence was reportedly filmed three times, as the film was being produced in Hindi/Urdu, Tamil, and English. The film was eventually dubbed in Tamil and released in 1961 as "Akbar", but that version's commercial failure resulted in the abandonment of the planned English dubbing, for which British actors were considered. Asif was accompanied by an extensive crew, which included his assistant directors S. T. Zaidi, Khalid Akhtar, Surinder Kapoor (assisting primarily for the English version), and five others. Additional crew members included cinematographer R. D. Mathur, choreographer Lachhu Maharaj, production manager Aslam Noori, cameraman M. D. Ayub, editor Dharamavir, makeup artists P. G. Joshi and Abdul Hamid, and sound director Akram Shaikh.


title: Mughal-e-Azam

text: Some film sequences were shot with up to 14 cameras, significantly more than the norm at that time. There were many difficulties with the film's lighting; cinematographer Mathur reportedly took eight hours to light a single shot. In total, 500 days of shooting were needed, compared to a normal schedule of 60 to 125 shooting days at the time. Owing to the very large size of the Sheesh Mahal set, the lighting was provided by the headlights of 500 trucks and about 100 reflectors. The presence of the mirrors on the set caused problems, as they sparkled under the lights. Foreign consultants, including British director David Lean, told Asif to forget the idea since they felt that it was impossible to film the scene under the intense glare. Asif confined himself to the set with the lighting crew, and subsequently overcame the problem by covering all the mirrors with a thin layer of wax, thereby subduing their reflectivity. Mathur also used strategically placed strips of cloth to implement "bounce lighting", which reduced the glare.


title: Mughal-e-Azam

text: A number of problems and production delays were encountered during filming, to the extent that at one point Asif considered abandoning the project. Kumar defended the long duration of filming, invoking the massive logistics of the film and explaining that the entire cast and crew were "acutely conscious of the hard work [they] would have to put in, as well as the responsibility [they] would have to shoulder."


title: Mughal-e-Azam

text: The production also suffered from financial problems, and Asif exceeded the budget on a number of occasions. The final budget of the film is a subject of debate. Some sources state that "Mughal-e-Azam" cost 10.5 million to produce (about US$2.25 million at the time) while others state that it cost 15 million (about $3 million). This made "Mughal-e-Azam" the most expensive Indian film of the period. A number of estimates put the film's inflation-adjusted budget at 500 million to 2 billion. The budget situation strained the relationship between Asif and Pallonji, while the production also faced troubled relationships among other crew members; differences crept up between Asif and Kumar when the former married the latter's sister. Another source of trouble was the romantic relationship and ultimate break-up of Kumar and Madhubala, who had been dating for nine years.


title: Mughal-e-Azam

text: Sohrab Modi's "Jhansi Ki Rani" (1953) was the first Indian film to be shot in colour, and by 1957, colour production had become increasingly common. Asif filmed one reel of "Mughal-e-Azam", including the song "Pyar Kiya To Darna Kya", in Technicolor. Impressed by the result, he filmed three more reels in Technicolor, near the story's climax. After seeing them, he sought a complete re-shoot in Technicolor, angering impatient distributors who were unwilling to accept further delays. Asif subsequently released "Mughal-e-Azam" partially coloured, although he still hoped to see the full film in colour.


title: Mughal-e-Azam

text: By the end of filming, more than a million feet of negative had been used, necessitating significant editing. A number of songs were edited out owing to the running time, which in the end was 197 minutes. Almost half of the songs recorded for the film were left out of the final version.


title: Mughal-e-Azam

text: "Mughal-e-Azam" is a family history highlighting the differences between father and son, duty to the public over family, and the trials and tribulations of women, particularly of courtesans. According to Rachel Dwyer, author of the book "Filming the Gods: Religion and Indian Cinema", the film highlights religious tolerance between Hindus and Muslims. Examples include the scenes of Hindu Queen Jodhabai's presence in the court of the Muslim Akbar, the singing of a Hindu devotional song by Anarkali, and Akbar's participation in the Janmashtami celebrations, during which Akbar is shown pulling a string to rock a swing with an idol of Krishna on it. Film critic Mukul Kesavan has remarked that he was unable to recall a single other film about Hindu-Muslim love in which the woman (Jodhabai) is Hindu. Scholars Bhaskar and Allen described the film as a "tableau vivant" of "Islamicate culture",evidenced in its ornate sets, musical sequences such as the "qawwali" scene, and chaste Urdu dialogues. Throughout the film there is a distinct depiction of Muslims as the ruling class who not only dressed differently but also spoke in complex Persianised dialogue. They are made to appear "distinct and separate from the mainstream."


title: Mughal-e-Azam

text: Film scholar Stephen Teo posits that "Mughal-e-Azam" is a "national allegory", a stylistic way of appropriating history and heritage to emphasise the national identity. He believes the arrogance of Bahar represents the power of the state and that Anarkali's emotion, which is highly personal, represents the private individual. Teo states that the theme of romantic love defeating social class difference and power hierarchy, as well as the grandeur of the filming, contribute to the film's attractiveness. Author Ashis Nandy has commented on the poetic quality of the dialogue, saying that "the characters of "Mughal-e-Azam" do not just speak – they refine communication, they distil it, they crystallize it into many faceted glittering gems, they make poetry of ordinary language." Gowri Ramnarayan of "The Hindu" has also emphasised the power of the dialogues in the film in that they "create not only the ambiance of this period drama, but also etch character and situation. Every syllable breathes power and emotion."


title: Mughal-e-Azam

text: Philip Lutgendorf, a scholar at the University of Iowa, has stated that while the theme of the conflict between passionate individual love and family duty may be very common in Hindi film making, with endless cinematic permutations, K. Asif's "excessive elaboration of the theme remains in a class by itself." Further, Emperor Akbar struggles between his personal desires and his duties to the nation. Ashis Nandy noted that apart from the conflict between Akbar and his son, there is also an "unwritten alliance" between Akbar and Bahar that compounds the problems of Anarkali. He also thought it highlighted the "idea of justice and the notion of unconditional love" to uphold tradition. The song "Pyar Kiya To Darna Kya" sung by Anarkali was an indication of her defiance of societal norms. A major difference from the original story is that while the earlier Anarakali films based on Imtiaz Ali Taj's story ended as tragedies, K. Asif created a relatively happy ending in that Akbar gives amnesty to Anarkali by allowing her to escape through a secret route of tunnels below a false bottom of her prison wall, although his son is made to suffer in believing her to have perished.


title: Mughal-e-Azam

text: The film is based on a legend, but it is given credence by at least two texts that assert Anarkali's existence during the historical period of Emperor Akbar (1556–1605). One of the books states that in 1615 a marble tomb was built on Anarkali's grave in Lahore by Salim, when he had become Emperor Jehangir. On the tomb is a Persian inscription that reads: "Ta Kiyamat shukr geom kardgate khwesh ra, Aah garman bez benaam roo-e yare khwesh ra" ("Ah! could I behold the face of my love once more, I would give thanks to my God until the day of resurrection"). The author of the stage play on which the film is based, Imtiaz Ali Taj, believed that the legend had no historical base, but historians have suggested that Anarkali may have been a painter, a dancer, or a courtesan, or one of Akbar's wives and the mother of Salim's half-brother Prince Daniyal. While an earlier film version of the story, "Anarkali" (1952), contained a disclaimer stating that the story had no foundation in history, "Mughal-e-Azam" made no such claim.


title: Mughal-e-Azam

text: "Mughal-e-Azam" takes numerous liberties with historical fact. Historian Alex von Tunzelmann says that although the real Salim was a heavy consumer of alcohol and opium from the age of 18, he was not necessarily a mischievous boy, as depicted in the film. When the film's Salim returns from his time in the military, he is depicted as a gentle and romantic hero, in contrast to the real Salim, who was documented as a brutal drunk who would often beat people to death. The real Salim did lead a rebellion against his father, tried to replace him as emperor, and had Akbar's friend Abu al-Fazl murdered in 1602, but the film ascribes these actions to his desire to marry Anarkali, which is historically inaccurate. Further, there were also discrepancies in sets, costumes, and music of the film. The Sheesh Mahal, actually the royal bath of the queen, was depicted in the film as a dancing hall, and much larger. Music and dancing styles from the 19th century were depicted, although the story takes place in the 16th century. For example, "thumri", a semi-classical music form developed in the 19th century, is adopted in a dance sequence in Kathak style, which is a 16th-century dance form.


title: Mughal-e-Azam

text: The soundtrack was composed by music director Naushad, and the lyrics were written by Shakeel Badayuni. After conceiving the idea of the film, Asif visited Naushad and handed him a briefcase containing money, telling him to make "memorable music" for "Mughal-e-Azam". Offended by the explicit notion of money as a means of gaining quality, Naushad threw the notes out of the window, to the surprise of his wife. She subsequently made peace between the two men, and Asif apologised. With this, Naushad accepted the offer to direct the film's soundtrack.


title: Mughal-e-Azam

text: As with most of Naushad's soundtracks, the songs of "Mughal-e-Azam" were heavily inspired by Indian classical music and folk music, particularly "ragas" such as "Darbari", "Durga", used in the composition of "Pyar Kiya To Darna Kya", and "Kedar", used in "Bekas Pe Karam Keejeye". He also made extensive use of symphony orchestras and choruses to add grandeur to the music. The soundtrack contained a total of 12 songs, which were rendered by playback singers and classical music artists. These songs account for nearly one third of the film's running time.


title: Mughal-e-Azam

text: The painter G. Kamble was lured away from V. Shantaram's Rajkamal Kalamandir to paint the posters. Kamble also created cinema displays at Maratha Mandir theatre. Asif needed to buy all available stocks of Winsor & Newton paint in India at a cost of 6 lakh to enable Kamble to produce quality art for his hoardings. Kamble, who was offered a large sum of 8 lakh for his work on the stills of "Mughal-e-Azam", did not receive any compensation in the end due to fraud.


title: Mughal-e-Azam

text: At the time of the release of "Mughal-e-Azam", a typical Bollywood film would garner a distribution fee of 300,000–400,000 (about US$63,000–84,000 in 1960) per territory. Asif insisted that he would sell his film to the distributors at no less than 700,000 per territory. Subsequently, the film was actually sold at a price of 1.7 million (US$356,000) per territory, surprising Asif and the producers. Thus, it set the record for the highest distribution fee received by any Bollywood film at that time.


title: Mughal-e-Azam

text: The premiere of "Mughal-e-Azam" was held at the then-new 1,100-capacity Maratha Mandir cinema in Mumbai. Mirroring the nature of the film, the cinema's foyer had been decorated to resemble a Mughal palace, and a cut-out of Prithviraj Kapoor was erected outside it. The Sheesh Mahal set was transported from the studio to the cinema, where ticket holders could go inside and experience its grandeur. Invitations to the premiere were sent as "royal invites" shaped like scrolls, which were written in Urdu and made to look like the "Akbarnama", the official chronicle of the reign of Akbar. The premiere was held amidst great fanfare, with large crowds and an extensive media presence, in addition to hosting much of the film industry, although Dilip Kumar did not attend the event owing to his dispute with Asif. The film's reels arrived at the premiere cinema atop a decorated elephant, accompanied by the music of bugles and "shehnai".


title: Mughal-e-Azam

text: The day before bookings for the film opened, a reported crowd of 100,000 gathered outside the Maratha Mandir to buy tickets. The tickets, the most expensive for a Bollywood film at that time, were dockets containing text, photographs and trivia about the film, and are now considered collector's items. They sold for 100 (valued at about US$21 in 1960), compared to the usual price of 1.5 (US$0.31). Bookings experienced major chaos, to the extent that police intervention was required. It was reported that people would wait in queues for four to five days, and would be supplied food from home through their family members. Subsequently, the Maratha Mandir closed bookings for three weeks.


title: Mughal-e-Azam

text: "Mughal-e-Azam" was released on 5 August 1960 in 150 cinemas across the country, establishing a record for the widest release for a Bollywood film. It became a major commercial success, earning 4 million (US$839,000) in the first week, eventually earning a net revenue of 55 million (US$11,530,000), and generating a profit of 30 million for the producers. "Mughal-e-Azam" also experienced a long theatrical run, screening to full capacity at the Maratha Mandir for three years. The film thus became the highest-grossing Bollywood film of all time by surpassing "Mother India" (1957), and retained this record until "Sholay" (1975) surpassed its net revenue. In terms of gross revenue, "Mughal-e-Azam" earned ().


title: Mughal-e-Azam

text: According to Ziya Us Salam of "The Hindu" in 2009, "Mughal-e-Azam" was the highest-grossing Bollywood film of all time if adjusted for inflation. According to the online box office website Box Office India in January 2008, the film's adjusted net revenue would have amounted to , ranking it as an "All-Time Blockbuster". According to Box Office India in June 2017, "Mughal-e-Azam" may have had more than 100 million footfalls at the domestic box office, higher than "Hum Aapke Hain Koun" (1994) and "Baahubali 2" (2017). According to financial newspaper "Mint", the adjusted net income of "Mughal-e-Azam" is equivalent to () in 2017.


title: Mughal-e-Azam

text: "Mughal-e-Azam" received almost universal acclaim from Indian critics; every aspect of the film was praised. A review dated 26 August 1960 in "Filmfare" called it a "history-making film ... the work of a team of creative artists drawn from different spheres of the art world". It was also described as "a tribute to imagination, hard work and lavishness of its maker, Mr. Asif. For its grandeur, its beauty, and then performances of the artists it should be a landmark in Indian films." Another contemporary review from "The Indian Express" focused on the acting and dancing "gifts" of Madhubala.


title: Mughal-e-Azam

text: Since 2000, reviewers have described the film as a "classic", "benchmark", or "milestone" in the history of Indian cinema. In 2011, Anupama Chopra called it "the best Hindi film ever made" and "the apotheosis of the Hindi film form", noting specifically the performances, father-son drama and song sequences. Dinesh Raheja of Rediff called the film a must-see classic, saying "a work of art is the only phrase to describe this historical whose grand palaces-and-fountains look has an epic sweep and whose heart-wrenching core of romance has the tenderness of a feather's touch." Sujata Gupta of "Planet Bollywood" gave the film nine out of ten stars, calling it a "must see" that "has captured interest of people over generations".


title: Mughal-e-Azam

text: K. K. Rai, in his review for "Stardust" stated, "it can be said that the grandeur and vintage character of "Mughal-e-Azam" cannot be repeated, and it will remembered as one of the most significant films made in this country." Ziya Us Salam of "The Hindu" described "Mughal-e-Azam" as a film people will want to watch over and over again. Raja Sen of Rediff compared the film to "Spartacus" (1960) and said, ""Mughal-e-Azam" is awesomely, stunningly overwhelming, a magnificent spectacle entirely free of CGI and nonlinear gimmickry, a gargantuan feat of ... of ... well, of Mughal proportions!" Laura Bushell of the BBC rated the film four out of five stars, considering it to be a "benchmark film for both Indian cinema and cinema grandeur in general", and remarking that "Mughal-E-Azam" was an epic film in every way. Naman Ramachandran, reviewing the film for the British Film Institute, noted the depiction of religious tolerance and said the film had a tender heart.


title: Mughal-e-Azam

text: Nasreen Munni Kabir, author of "The Immortal Dialogue of K. Asif's Mughal-e-Azam", compared the film to the Koh-i-Noor diamond for its enduring worth to Indian cinema. "Outlook", in 2008, and "Hindustan Times", in 2011, both declared that the scene in which Salim brushes Anarkali with an ostrich feather was the most erotic and sensuous scene in the history of Indian cinema.


title: Mughal-e-Azam

text: At the 1961 National Film Awards, "Mughal-e-Azam" won the National Film Award for Best Feature Film in Hindi. In the 1961 Filmfare Awards, "Mughal-e-Azam" was nominated in seven categories: Best Film, Best Director (Asif), Best Actress (Madhubala), Best Playback Singer (Mangeshkar), Best Music (Naushad), Best Cinematography (Mathur), and Best Dialogue (Aman, Wajahat Mirza, Kamaal Amrohi, and Ehsan Rizvi), winning the awards for Best Film, Best Cinematography, and Best Dialogue.


title: Mughal-e-Azam

text: "Mughal-e-Azam" was the first black-and-white Hindi film to be digitally coloured and the first to be given a theatrical re-release. The Sterling Investment Corporation, the negative rights owner and an arm of the Shapoorji Pallonji Group, undertook restoration and colourisation of "Mughal-e-Azam" and assigned Deepesh Salgia as Project Designer and Director. They initially approached Hollywood executives for help, but found the sales quotations, ranging from $12–15 million, too high. In 2002, Umar Siddiqui, managing director of the Indian Academy of Arts and Animation (IAAA), proposed to enhance it digitally at a fraction of the cost. To convince the Shapoorji Pallonji Group, one of India's wealthiest companies, of the commercial viability of the project, the IAAA colourised a four-minute clip and showed it to them. They approved and gave the project the go-ahead. Shapoorji Mistry, grandson of producer Shapoorji Pallonji Mistry, thought it a fitting tribute to complete his grandfather's unfinished dream of colourising the entire film.


title: Mughal-e-Azam

text: The first step towards colourisation was the restoration of the original negatives, which were in poor condition owing to extensive printing of the negative during the original theatrical release. Costly and labour-intensive restoration was essential before colourisation could be carried out. The negative was cleaned of fungal growth, damaged portions were restored, and missing parts of frames were re-instated. After cleaning, each of the 300,000 frames of the negative was scanned into a 10 megabytes-sized file and then was digitally restored. The entire restoration work was undertaken by Acris Lab, Chennai. The dialogues in the original soundtrack were also in a bad state of preservation, which necessitated having the sound cleaned at Chace Studio in the United States. The background score and the entire musical track was recreated by Naushad and Uttam Singh. For the songs, the original voices of the singers like Lata Mangeshkar, Bade Ghulam Ali Khan and Mohammed Rafi were extracted from the original mixed track and the same were recreated with re-recorded score in 6.1 surround sound.


title: Mughal-e-Azam

text: The process of colourisation was preceded by extensive research. The art departments visited museums and studied the literature for background on the typical colours of clothing worn at that time. Siddiqui studied the technology used for the colourisation of black-and-white Hollywood classics. The team also approached a number of experts for guidance and suggestions, including Dilip Kumar, production designer Nitin Chandrakant Desai, and a historian from the Jawaharlal Nehru University in Delhi. To undertake the colourisation, Siddiqui brought together a team of around 100 individuals, including computer engineers and software professionals, and organised a number of art departments. The entire project was co-ordinated by Deepesh Salgia, who partnered with companies including Iris Interactive and Rajtaru Studios to execute the colourisation. The task was controlled and supervised by the producers, who received daily updates and progress reports.


title: Mughal-e-Azam

text: The colourisation team spent 18 months developing software for colouring the frames, called "Effects Plus", which was designed to accept only those colours whose hue would match the shade of grey present in the original film. This ensured that the colours added were as close to the real colour as possible; the authenticity of the colouring was later verified when a costume used in the film was retrieved from a warehouse, and its colours were found to closely match those in the film. Every shot was finally hand-corrected to perfect the look. The actual colourisation process took a further 10 months to complete. Siddiqui said that it had "been a painstaking process with men working round the clock to complete the project." The exact cost of the colourisation is disputed, with a wide variety of estimates ranging from to 50 million, or 100 million.


title: Mughal-e-Azam

text: The film's colour version was released theatrically on 12 November 2004, in 150 prints across India, 65 of which were in Maharashtra. The new release premiered at the Eros Cinema in Mumbai. Dilip Kumar, who had not attended the original premiere, was in attendance. The colour version was edited to a running time of 177 minutes, as compared to the original version's 197 minutes. The new release also included a digital reworked soundtrack, produced with the assistance of Naushad, the original composer. The release on the festive Diwali weekend came with three other major releases: "Veer-Zaara", "Aitraaz", and "Naach". It became the 19th highest grossing Bollywood film of the year, behind "Aitraaz" and "Veer-Zaara" (the top grosser), but ahead of "Naach".


title: Mughal-e-Azam

text: "Mughal-e-Azam" became the first full-length feature film colourised for a theatrical re-release; although some Hollywood films had been colourised earlier, they were only available for home media. It was subsequently selected for seven international film festivals, including the 55th Berlin International Film Festival. Upon release, the film drew crowds to the cinemas, with an overall occupancy of 90 per cent. Subsequently, it completed a 25-week run. While some critics complained that the colours were "psychedelic" or "unnatural", others hailed the effort as a technological achievement. Film critic Kevin Thomas of the "Los Angeles Times" remarked that while colourising was not a good idea for most black-and-white classics, it was perfect in this particular instance. He compared it to films by Cecil B. DeMille and to "Gone With the Wind" (1939) for its larger-than-life storytelling. "The Guardian" said that although the new version was an improvement, "the fake colours tend to look flat and brash, detracting from cinematographer RD Mathur's elegantly composed shots." The BBC's Jaspreet Pandohar, observing that the film was "restored in appealing candy-colours and high quality sound", considered it a "cross between "Gone With the Wind" and "Ben-Hur"". Other critics have said that they prefer the black and white version.


title: Mughal-e-Azam

text: In 2006, "Mughal-e-Azam" became only the fourth Indian film certified for showing in Pakistan since the 1965 ban on Indian cinema, and was released with a premiere in Lahore. It was distributed by Nadeem Mandviwala Entertainment, at the request of Asif's son, Akbar Asif.


title: Mughal-e-Azam

text: "Mughal-e-Azam" is one of only two films directed by Asif; one of his unfinished projects was released posthumously as a tribute. Over time the title has become part of Bollywood vernacular, used to describe a project that is taking too long to complete. Art director Omung Kumar, who has designed sets for major Indian films such as "Black" (2005) and "Saawariya" (2007), said that he and others in his field look to "Mughal-e-Azam" as a source of inspiration for art direction. It has also been used as a model for the perfect love story, requiring directors to ensure lovers overcome obstacles. Following her success in the film, Madhubala could have gone on to land further major roles, but she was advised not to overwork owing to her heart condition, and had to withdraw from some productions that were already underway.


title: Mughal-e-Azam

text: "The Guardian" in 2013 cited "Mughal-e-Azam" as a "landmark of cinema" despite its historical inaccuracies, and the BBC stated in 2005 that it is "widely considered one of Bollywood's most iconic films". Imtiaz Ali of "The Times of India" in 2010 called it the "most proto-typical, high involvement, expensive, passionate piece of work that Hindi cinema has ever produced", one that "set the standard for everything that will ever come after it". It continues to be regarded by critics as the Indian equivalent of "Gone with the Wind". Filmmaker Subhash Ghai was quoted in 2010 as saying that a film like this could never be repeated: ""Mughal-e-Azam" is an all-time classic and has been the ultimate love story in Hindi cinema at all levels. So it will always remain alive for generations to come." To commemorate the film's anniversary, the actor and producer Shah Rukh Khan had his company Red Chillies Entertainment produce a documentary video titled "Mughal-E-Azam – A Tribute by a son to his father". Hosted by Khan, it includes interviews with Asif's family and Bollywood stars. Artist M. F. Husain created a series of paintings for the video, in which he re-imagined some memorable scenes. Interested in preserving the film for future generations, Khan noted that his father was originally cast in the film but did not complete it. When asked if "Mughal-e-Azam" should be remade, he retorted: "It is the mother of all films; mothers cannot be remade". No sequels have been made, but "Maan Gaye Mughal-e-Azam" (2008) paid tribute with its title and by including in its plot part of the original stage play; it received very poor ratings from critics. In October 2016, producer Feroz Abbas Khan premiered a "stage play" based on the film with a cast of over 70 actors and dancers at Mumbai's NCPA theatre.


title: Mughal-e-Azam

text: "Mughal-e-Azam" ranks on the lists of top Indian films, including the 2002 British Film Institute poll of Top 10 Indian Films, and Anupama Chopra's 2009 list The Best Bollywood Films. It is also included in IBN Live's 2013 list of the "100 greatest Indian films of all time". Rotten Tomatoes has sampled 10 reviewers and judged 91% of them to be positive, with an average rating of 7.9 out of 10. It is second on Box Office India's list of Biggest Blockbusters Ever in Hindi Cinema, and was named the greatest Bollywood film of all time by a poll celebrating 100 years of Indian cinema by British Asian weekly newspaper "Eastern Eye" in July 2013. It belongs to a small collection of films including "Kismet" (1943), "Mother India" (1957), "Sholay" (1975), and "Hum Aapke Hain Koun..!" (1994), that are watched repeatedly throughout India and are viewed as definitive Hindi films of cultural significance. Books and documentaries made about the film include Shakil Warsi's "Mughal-E-Azam – An Epic of Eternal Love", published by Rupa in 2009.


title: Welsh rarebit

text: Welsh rarebit or Welsh rabbit ( or ) is a dish consisting of a hot cheese-based sauce served over slices of toasted bread. The original 18th-century name of the dish was the jocular "Welsh rabbit", which was later reinterpreted as "rarebit", as the dish contains no rabbit. Variants include "English rabbit, Scotch rabbit, buck rabbit, golden buck", and "blushing bunny".


title: Welsh rarebit

text: Though there is no strong evidence that the dish originated in Welsh cuisine, it is sometimes identified with the Welsh caws pobi 'baked cheese', documented in the 1500s.


title: Welsh rarebit

text: Some recipes simply melt grated cheese on toast, making it identical to cheese on toast. Others make the sauce of cheese, ale, and mustard, and garnished with cayenne pepper or paprika. Other recipes add wine or Worcestershire sauce. The sauce may also blend cheese and mustard into a béchamel sauce.


title: Welsh rarebit

text: Hannah Glasse, in her 1747 cookbook "The Art of Cookery", gives close variants "Scotch rabbit", "Welsh rabbit" and two versions of "English rabbit".


title: Welsh rarebit

text: To make a "Scotch rabbit", toast a piece of bread very nicely on both sides, butter it, cut a slice of cheese about as big as the bread, toast it on both sides, and lay it on the bread.


title: Welsh rarebit

text: To make a "Welsh rabbit", toast the bread on both sides, then toast the cheese on one side, lay it on the toast, and with a hot iron brown the other side. You may rub it over with mustard.


title: Welsh rarebit

text: To make an "English rabbit", toast a slice of bread brown on both sides, lay it in a plate before the fire, pour a glass of red wine over it, and let it soak the wine up; then cut some cheese very thin and lay it very thick over the bread, and put it in a tin oven before the fire, and it will be toasted and browned presently. Serve it away hot.


title: Welsh rarebit

text: Or do it thus. Toast the bread and soak it in the wine, set it before the fire, cut your cheese in very thin slices, rub butter over the bottom of a plate, lay the cheese on, pour in two or three spoonfuls of white wine, cover it with another plate, set it over a chafing-dish of hot coals for two or three minutes, then stir it till it is done and well mixed. You may stir in a little mustard; when it is enough lay it on the bread, just brown it with a hot shovel.


title: Welsh rarebit

text: The first recorded reference to the dish was "Welsh rabbit" in 1725 in an English context, but the origin of the term is unknown. It was probably intended to be jocular.


title: Welsh rarebit

text: "Welsh" was probably used as a pejorative dysphemism, meaning "anything substandard or vulgar", and suggesting that "only people as poor and stupid as the Welsh would eat cheese and call it rabbit", or that "the closest thing to rabbit the Welsh could afford was melted cheese on toast". Or it may simply allude to the "frugal diet of the upland Welsh". Other examples of such jocular food names are "Welsh caviar" (laverbread); "Essex lion" (calf); "Norfolk capon" (kipper); "Irish apricot" (potato); "Rocky Mountain oysters" (bull testicles); and "Scotch woodcock" (scrambled eggs and anchovies on toast).


title: Welsh rarebit

text: The dish may have been attributed to the Welsh because they were fond of roasted cheese: "I am a Welshman, I do love cause boby, good roasted cheese." (1542) "Cause boby" is Welsh "" 'baked cheese', but it is unclear whether this is related to Welsh rabbit.


title: Welsh rarebit

text: The word "rarebit" is a corruption of "rabbit", "Welsh rabbit" being first recorded in 1725, and "rarebit" in 1781. "Rarebit" is not used on its own, except in alluding to the dish. In 1785, Francis Grose defined a "Welch rabbit" [sic] as "a Welch rare bit", without saying which came first. Later writers were more explicit: for example, Schele de Vere in 1866 clearly considers "rabbit" to be a corruption of "rarebit".


title: Welsh rarebit

text: Welsh rabbit has become a standard savoury listed by culinary authorities including Auguste Escoffier, Louis Saulnier and others; they tend to use "rarebit", communicating to a non-English audience that it is not a meat dish.


title: Welsh rarebit

text: "Eighteenth-century English cookbooks reveal that it was then considered to be a luscious supper or tavern dish, based on the fine cheddar-type cheeses and the wheat bread [...]. Surprisingly, it seems there was not only a Welsh Rabbit, but also an English Rabbit, an Irish and a Scotch Rabbit, but nary a rarebit."


title: Welsh rarebit

text: Since the 20th century, "rarebit", "rarebit sauce", or even "rabbit sauce" has occasionally been a cheese sauce used on hamburgers or other dishes.


title: Welsh rarebit

text: The notion that toasted cheese was a favourite dish irresistible to the Welsh has existed since the Middle Ages. In "A C Merie Talys" (100 Merry Tales), a printed book of jokes of 1526 AD (of which William Shakespeare made some use), it is told that God became weary of all the Welshmen in Heaven, 'which with their krakynge and babelynge trobelyd all the others', and asked the Porter of Heaven Gate, St Peter, to do something about it. So St Peter went outside the gates and called in a loud voice, "'Cause bobe", yt is as moche to say as "rostyd chese"', at which all the Welshmen ran out, and when St Peter saw they were all outside, he went in and locked the gates, which is why there are no Welshmen in heaven. The 1526 compiler says he found this story 'Wryten amonge olde gestys'.


title: Welsh rarebit

text: "Betty Crocker's Cookbook" claims that Welsh peasants were not allowed to eat rabbits caught in hunts on the estates of the nobility, so they used melted cheese as a substitute. It also claims that Ben Jonson and Charles Dickens ate Welsh rarebit at Ye Olde Cheshire Cheese, a pub in London. It gives no evidence for any of this; indeed, Ben Jonson died almost a century before the term Welsh rabbit is first attested.


title: Welsh rarebit

text: Welsh rarebit supposedly causes vivid dreams. The 1902 book "Welsh Rarebit Tales" is a collection of short horror stories supposedly from members of a writing club who ate a dinner which included a large portion of rarebit immediately before sleeping in order to give themselves inspiring dreams. Winsor McCay's comic strip series "Dream of the Rarebit Fiend" recounts the fantastic dreams that various characters have because they ate a Welsh rarebit before going to bed. In "Gomer, the Welsh Rarebit Fiend", Season 3 Episode 24 of "Gomer Pyle, U.S.M.C.", indulging in Welsh rarebit causes Gomer (and later Sgt. Carter) to sleepwalk and exhibit inverse personality traits.


title: Nana (entertainer)

text: Im Jin-ah (born September 14, 1991), known professionally as Nana, is a South Korean singer, actress and model known for her work as a group member of the South Korean girl group After School and its subgroups, Orange Caramel and After School Red. As an actress, Nana starred in various television dramas such as "Love Weaves Through a Millennium" (2015), "The Good Wife" (2016), "Kill It" (2019), and "Justice" (2019).


title: Nana (entertainer)

text: Nana was born on September 14, 1991. She graduated from Ochang High School in Cheongju, and was a participant in the 2009 Asia Pacific Super Model Contest.


title: Nana (entertainer)

text: In November 2009, Nana debuted in After School along with Raina as third generation members with the release of After School's second EP, "Because of You". In June 2010, Nana, along with After School members Raina and Lizzy, formed a sub-unit called Orange Caramel.


title: Nana (entertainer)

text: In July 2011, Nana was part of the After School sub-unit A.S. Red along with After School members Kahi, Jungah and Uee, releasing the single "In the Night Sky". In September 2011, she was chosen as the main model for the Tokyo Girls Collection fashion show.


title: Nana (entertainer)

text: In March 2012, Nana again modeled for the Tokyo Girls Collection, walking the S/S 2012 show. She was also a model for the Japanese fashion show Girls' Award and Park Yoon-yoo's Seoul Fashion Walk S/S 2012. In June 2012, After School released their fifth maxi-single "Flashback". Nana has a solo song on it titled "Eyeline". In December she joined fellow K-pop stars Hyolyn, Hyuna, Hyoseong, and Nicole to form super group Dazzling Red for "SBS Gayo Daejun", performing the song "This Person". She also became the endorsement model for the biggest diet brand in Korea, Juvis. Nana was also a permanent panelist on the Japanese fashion TV show, "Tokyo Brandnew Girls".


title: Nana (entertainer)

text: In 2013, she walked the runway for a-nation's “NYLON” fashion show. The same year, Nana collaborated with Electroboyz on their single "Ma Boy 3". In December 2013, Nana gained global recognition when she placed second on the Independent Critics List of 100 Most Beautiful Faces of 2013. She rose to the #1 position in 2014, and placed first again in 2015.


title: Nana (entertainer)

text: In March 2014, it was announced that Nana would be a member on a new SBS variety show called "Roommate". The show features 11 celebrities living in one house. In April, Nana became the host for the second season of OnStyle's "Style Log", along with Hong Jong-hyun and Cho Min-ho. In August 2014, Nana participated in the Chinese fashion elimination show "Muse Dress", and emerged runner-up in the competition. She also had a cameo role in the Korean film "Fashion King", which was released on November 6, 2014.


title: Nana (entertainer)

text: In early 2015 Nana debuted as an actress, starring in the Chinese television drama, "Love Weaves Through a Millennium", a remake of the Korean drama "Queen In-hyun's Man" (2012). The same year, she starred in the Chinese romantic comedy film "Go Lala Go 2", the sequel to "Go Lala Go!".


title: Nana (entertainer)

text: In February 2016, Nana joined the cast of "Real Men" for the fourth season's female soldier special. Later in the year, she was cast in a supporting role in the television drama "The Good Wife", a remake of the American series of the same name Nana earned positive reviews for her role as Kim Dan, and received the Rookie Actress award at the 2016 Asia Artist Awards. Following her success on the small screen, Nana was cast alongside her "The Good Wife" co-star, Yoo Ji-tae in the crime comedy film, "The Swindlers" (Conman), as the only female lead. The film garnered 213,185 admissions on the first day of its release and topped the local box office for three consecutive weeks.


title: Nana (entertainer)

text: In 2017, she was cast in her first leading role for upcoming romantic thriller "Four Men", but decided to leave the cast due to delays in production.


title: Nana (entertainer)

text: In 2019, Nana starred in OCN's crime drama "Kill It", playing detective Do Hyun-jin. The same year, she starred in KBS's melodrama "Justice", based on the web novel Justice, written by Jang Ho and illustrated by Elja, as prosecutor Seo Yeon-ah. Nana once again received acclaim, earning herself an Excellence Award from the 2019 KBS Drama Awards.


title: Nana (entertainer)

text: In 2020, Nana was announced to star in a mystery thriller film "Confession", based on a Spanish film "Contratiempo" ("The Invisible Guest"), alongside So Ji-sub and Yunjin Kim. In April 2020 it was announced Nana would join Park Sung-hoon as the lead actress for KBS's upcoming drama Into The Ring. The drama gathered anticipation due to the series being based on the screenplay by Moon Hyun-kyung, the grand prize winner at the Broadcasting Content Promotion Foundation (BCPF)'s "10th Find the Desert's Shooting Star Screenplay Competition", held in 2018. Nana also made her return to music after 6 years through the drama with the release of her first OST, "Our Memories in Summer" (우리의 여름처럼) with co-star Park Sung-hoon. On September 7, it was confirmed that Nana would star in a new MBC drama "Oh My Ladylord" with Lee Min-ki set to premiere on March 24, 2021.


title: Nana (entertainer)

text: After the completion of "Oh My Ladylord", it was announced on May 28 of 2021 that Nana was cast in Netflix upcoming series "Glitch" as "Heo Bora" alongside actress Jeon Yeo-been.


title: 2019–present Sri Lankan economic crisis

text: The Sri Lankan economic crisis is an ongoing crisis in the island-state of Sri Lanka that started in 2019. It is the country's worst economic crisis since its independence in 1948. It has led to unprecedented levels of inflation, near-depletion of foreign exchange reserves, shortages of medical supplies, and an increase in prices of basic commodities. The crisis is said to have begun due to multiple compounding factors like tax cuts, money creation, a nationwide policy to shift to organic or biological farming, the 2019 Sri Lanka Easter bombings, and the impact of the COVID-19 pandemic in Sri Lanka. The subsequent economic hardships resulted in the 2022 Sri Lankan protests.


title: 2019–present Sri Lankan economic crisis

text: Sri Lanka had been earmarked for sovereign default, as the remaining foreign exchange reserves of US$1.9 billion as of March 2022 would not be sufficient to pay the country's foreign debt obligations for 2022, with $4 billion to be repaid. An International Sovereign Bond repayment of $1 billion was due to be paid by the government in July 2022. Bloomberg reported that Sri Lanka had a total of $8.6 billion in repayments due in 2022, including both local debt and foreign debt. In April 2022, the Sri Lankan government announced that it was defaulting, making it the first sovereign default in Sri Lankan history since its independence in 1948 and the first state in the Asia-Pacific region to enter sovereign default in the 21st century.


title: 2019–present Sri Lankan economic crisis

text: In June 2022, then Prime Minister Ranil Wickremesinghe said in parliament that the economy had collapsed, leaving it unable to pay for essentials.


title: 2019–present Sri Lankan economic crisis

text: In September 2022, a United Nations report said that the economic crisis is a result of officials' impunity for human rights abuses and economic crimes.


title: 2019–present Sri Lankan economic crisis

text: According to W. A. Wijewardena, a former Deputy Governor of the Central Bank of Sri Lanka, the country was a long way into an economic crisis in 2015. The government that came into power in 2015 knew this and had been warned by the Institute of Policy Studies of Sri Lanka about a number of risks. While the then Prime Minister Ranil Wickremesinghe in 2015 had presented a strong economic policy to address the situation, the coalition government could not get the policy pushed through Parliament, which would eventually result in further policy confusion in the coming months.


title: 2019–present Sri Lankan economic crisis

text: The government did not adequately address the economic warnings and emerging dangers, consuming itself in other government related activities such as "constitutional reforms". Certain practices, including those used by the Ministry of Finance led by Ravi Karunanayake, were globally frowned upon. Election related economic decisions were pushed such as excessive distribution of freebies. The Institute of Policy Studies of Sri Lanka's 2014 State of the Economy Report highlighted hot money, worrying borrowing practices, temporary and superficial quick-fixes and monopoly of foreign direct investment flow into the hospitality sector.


title: 2019–present Sri Lankan economic crisis

text: Further political turmoil in 2018 worsened the economic outlook. By that time the government had carried out several reforms under an IMF supported program towards fiscal monetary consolidation and had successfully controlled inflation. These reforms included an automatic fuel pricing formula which significantly reduced fiscal risks posed by state-owned enterprises (SOEs), raised the value-added tax (VAT) rate from 11 percent to 15 percent, and broadened the VAT base by removing exemptions. Many of the reforms were reversed by the new government after the 2019 elections.


title: 2019–present Sri Lankan economic crisis

text: Under Maithripala Sirisena administration, the 2019 Central Bank Bill was drafted to make the Central Bank independent from political influence by banning the Treasury Secretary and any member of the Government from becoming members of the Monetary Board. Money printing was also to be banned under this bill, as it states: "The Central Bank shall not purchase securities issued by the government, by any government-owned entity, or any other public entity in the primary market." Then Central Bank Governor, Indrajit Coomaraswamy, noted Balance of Payments issues, increased inflation, and asset bubbles as reasons for the ban. The Sri Lanka Podujana Peramuna Party opposed an independent Central Bank and discarded the bill as soon as they came to power.


title: 2019–present Sri Lankan economic crisis

text: Many experts compared Lebanon's economic situation with that of Sri Lanka and had warned that Sri Lanka too was on the way to defaulting on its sovereign bonds. Both nations had similar issues, including deep economic crises occurring after their successive governments piled up unsustainable debts following the end of civil wars.


title: 2019–present Sri Lankan economic crisis

text: The Government of Sri Lanka under president Gotabaya Rajapaksa made large tax cuts that affected government revenue and fiscal policies, causing budget deficits to soar. These cuts included increased tax-free thresholds that resulted in a 33.5% decline in registered taxpayers, reducing VAT to 8%, reducing corporate tax from 28% to 24%, the abolishment of the Pay As You Earn (PAYE) tax and the 2% “nation-building tax” which financed infrastructure development. The massive loss of tax revenue resulted in rating agencies downgrading the sovereign credit rating making it harder to take more debt. In 2021 P. B. Jayasundera stated that President Rajapaksa was aware of the loss of revenue but considered it an "investment" and had no plans of increasing taxes for another 5 years.


title: 2019–present Sri Lankan economic crisis

text: To cover government spending, the Central Bank began printing money in record amounts ignoring advice from the International Monetary Fund (IMF) to stop printing money and instead hike interest rates and raise taxes while cutting spending. The IMF warned that continuing to print money would lead to an economic implosion. The tax cuts were also opposed by the former Finance Minister Mangala Samaraweera who noted that as the Sri Lankan government already had far less tax revenue relative to most countries which combined with its high debt load tax cuts would be dangerous. Samaraweera predicted that “"If these proposals are implemented like this not only will the entire country go bankrupt, but the entire country will become another Venezuela or another Greece".”