title: Iceland–European Union relations

text: If Iceland were admitted to the EU, it would be the smallest member state in terms of population. Its area (103,000 km) is somewhat close to the average for EU countries (165,048 km), but it would be the least densely populated country in the EU. The table below shows its population and population density in comparison to some of the other member states.


title: Iceland–European Union relations

text: The Icelandic language would be one of the official languages of the EU with the least speakers in terms of native speakers (together with Irish and Maltese).


title: Ingenious Media

text: Ingenious Media (styled as INGENIθUS) is a division of London-based Ingenious Capital Management Limited, also known as Ingenious. The company was founded in 1998 by Patrick McKenna.


title: Ingenious Media

text: In 2018, Ingenious Media partnered with Solstice Studios to produce and distribute theatrical feature films.


title: Ingenious Media

text: In July 2014, Ingenious Media was investigated by HMRC for promoting tax avoidance schemes. In October 2014, HMRC sent "accelerated payment notices" to people who had invested with Ingenious Media, demanding payment of substantial amounts of tax. The tax bill following his investment in the scheme was cited in the subsequent bankruptcy hearings of the former Liverpool and Republic of Ireland footballer, Steve Staunton. In 2018, a group of more than 500 investors launched a civil case against Ingenious for making false representations which Ingenious had always denied. Ingenious (specifically Ingenious Games LLP, Inside Track Productions LLP and Ingenious Film Partners 2 LLP) lost their appeal against HMRC's initial ruling in June 2019, with the Upper Tribunal ruling that "None of the LLPs were carrying on a trade. None of the LLPs were carrying on a trade with a view to profit."


title: Ingenious Media

text: However, in August 2021 the Court of Appeal overturned the ruling of the Upper Tribunal in respect of Inside Track Productions LLP and Ingenious Film Partners 2 LLP on both the trading and with a view to profit issues.


title: Economy of Telangana

text: Telangana is one of the fastest-growing states in India posing average annual growth rate of 13.90% over the last five years. Telangana's nominal gross state domestic product for the year 2020-21 stands at ₹12.05 lakh crore (US$170 billion). Service sector is the largest contributor to the Telangana's economy with a share of about 65% in the year 2018-19. Growth in services has largely been fuelled by IT services with the State holding leading position in IT & ITeS in the country in terms of production and exports.


title: Economy of Telangana

text: Agriculture also form a backbone of Telangana's Economy. Two important rivers of India, the Godavari and Krishna, flow through the state, providing irrigation. Farmers in Telangana mainly depend on rain-fed water sources for irrigation. Rice is the major food crop. Other important local crops are cotton, sugar cane, mango and tobacco. Recently, crops used for vegetable oil production, such as sunflower and peanuts, have gained favour. There are many multi-state irrigation projects in development, including Godavari River Basin Irrigation Projects.


title: Economy of Telangana

text: The state has also started to focus on the fields of information technology and biotechnology. There are 68 Special Economic Zones in the state.


title: Economy of Telangana

text: Rice is the major food crop and staple food of the state. Other important crops are tobacco, mango, cotton, and sugar cane. Agriculture has been the chief source of income for the state's economy. Important rivers of India, the Godavari, Krishna flow through the state, providing irrigation. Apart from major rivers, there are small rivers as Tunga Bhadra, Bima, Dindi, Kinnerasani, Manjeera, Manair, Penganga, Pranahitha, peddavagu and Taliperu. There are many multi-state irrigation projects in development, including Godavari River Basin Irrigation Projects and Nagarjuna Sagar Dam, the world's highest masonry dam.


title: Economy of Telangana

text: Given below is a table of 2015 national output share of select agricultural crops and allied segments in Telangana based on 2011 prices


title: Economy of Telangana

text: Telangana is developing into a seed hub in India, and was selected as a certifying agency as per OECD standards, for 10 states. The state cultivated seeds in 2,251 acres and exported 17,000 quintals to countries like Sudan, Egypt, Philippines and in 2017-18, it expanded cultivation to 2,567 acre and was expecting yield of 26,000 quintals.


title: Economy of Telangana

text: Several major manufacturing and services industries are in operation mainly around Hyderabad. Automobiles and auto components industry, spices, mines and minerals, textiles and apparels, pharmaceutical, horticulture, poultry farming are the main industries in Telangana.


title: Economy of Telangana

text: The state government is in the process of developing Industrial Parks at different places, for specific groups of industries. The existing parks are Software Park at Hyderabad, HITEC City for software units, Apparel Park at Gundlapochampalli, Export Promotion Park at Pashamylaram, Bio-technology park at Turkapally.


title: Economy of Telangana

text: In terms of services, Hyderabad is usually nicknamed as Cyberabad due to its information technology foray and location of major software industries in the city. Prior to secession, it contributed 15% to India's and 98% to Andhra Pradesh's exports in IT and ITES sectors last 2013, with Hyderabad as in the front line of Telangana's aims to promote information technology in India, the city boasts the HITEC City as its premier hub.


title: Economy of Telangana

text: Telangana State Tourism Development Corporation (TSTDC) is a state government agency which promotes tourism in Telangana. Telangana has a variety of tourist attractions including historical places, monuments, forts, water falls, forests and temples.


title: Child of Light

text: Child of Light is a platforming role-playing video game developed by Ubisoft Montreal and published by Ubisoft for Windows, PlayStation 3, PlayStation 4, Wii U, Xbox 360 and Xbox One in April 2014, and was released on PlayStation Vita in July 2014. The game was later released on Nintendo Switch on 11 October 2018; the announcement of this release also teased a sequel.<ref name="Switch/sequel"></ref> Versions for Amazon Luna and Google Stadia were released in August and October 2021, respectively. The game is powered by UbiArt Framework.


title: Child of Light

text: The game's story takes place in the fictional land of Lemuria. Aurora, a child who wakes up in Lemuria after dying from a mysterious illness, must bring back the sun, the moon, and the stars that are all being held captive by the Queen of the Night in order to return home.


title: Child of Light

text: The game received critical acclaim, with particular praise for its visuals, presentation, gameplay, soundtrack and story.


title: Child of Light

text: "Child of Light"s gameplay is described as having attributes of a side-scroller with role-playing elements such as leveling up to increase stats over time. Battles with enemies use a system of turn-based combat similar to the active-time battle system found in games like the "Final Fantasy" series and the "Grandia" series. The player can control up to two characters during battle, and swap these two with waiting characters. Up to three enemies can appear during battle. If the player approaches an enemy from behind, the battle becomes a "Surprise Strike", giving the player an advantage. If the enemy approaches the player from behind, it becomes an "Ambush", giving the enemy an advantage. The character Igniculus, a playable firefly, is used as an in-game mechanic outside of and during battle. The player can freely move Igniculus to open chests that Aurora cannot reach, as well as shine his light on an enemy to slow it down or on an ally to heal them.


title: Child of Light

text: "Child of Light" takes place on the kingdom of Lemuria, which is located in an alternate world and encompasses a peninsular continent. To the northeast is Greater Lemuria, a land filled with ancient ruins and massive trees, as well as floating islands that are home to the elfin Aerostati race. West of the Mahthildis Forest in central Lemuria is a village home to the dwarf-like, magic-using Capilli. Further west near the Plains of Rambert lies the town of Bolmus Populi, which rests upon the back of a benevolent stone giant and is home to the eponymous Populi, a race of anthropomorphic trader mice. Near the Cynbel Sea southwest of Lemuria is the Flooded Lands, where the fish-like Pisceans dwell. Other races include the warlike Kategida, who are tasked with the protection of Lemuria.


title: Child of Light

text: Prior to the game's events, the continent of Lemuria was discovered by four explorers, who then proceeded to colonize it. For many ages Lemuria was ruled by the Queen of Light until one night when she mysteriously vanished. From the darkness rose Umbra, Queen of the Night, who stole the sun, the stars, and the moon, thus robbing Lemuria of its light before conquering it. By the game's beginning the land's inhabitants live in fear of Umbra, who rules with an iron fist.


title: Child of Light

text: The main playable characters are Aurora, a princess who strives to find a way home after being stranded in Lemuria; Rubella, an Aerostati jester with a slight vocabulary problem who is searching for her brother Tristis; Finn, a young, timid Capilli sorcerer whose village is beset by a curse cast by Umbra; Norah, Aurora's stepsister, who was pulled through the mirror to Lemuria; Robert, a Populi trader skilled in archery; and Rubella's also jester brother Tristis. They are later joined by Óengus, a Kategida who was exiled when he pledged himself to Umbra in exchange for her sparing his clan's lives, and Genovefa, a young Piscean sorceress and one of the remaining survivors of her village. Other characters include Igniculus, a firefly who becomes Aurora's companion; the Queen of Light, the former ruler of Lemuria; the Duke, Aurora's father, and main antagonist Umbra, Queen of the Night, along with her daughters Nox and Crepusculum.


title: Child of Light

text: In 1895 Austria, a princess named Aurora is born to a Duke, who rules over a kingdom of five hills, and his beautiful, yet mysterious wife. After Aurora's mother apparently died, her father eventually remarried. On Easter Eve, Aurora seemingly dies in her sleep, causing the Duke to become bedridden, overcome with despair.


title: Child of Light

text: Aurora subsequently awakens on an altar in the land of Lemuria. Guided by Igniculus, she finds a sword that she uses to arm herself, and a chamber where the Lady of the Forest is imprisoned. Upon freeing the Lady, Aurora is told that her own world and Lemuria are connected by a mirror that was stolen by Umbra. To be able to use the mirror to go home, Aurora must recover Lemuria's light. The Lady gives Aurora advice of how to do this, a flute, and the stars which she had, granting Aurora the ability to fly.


title: Child of Light

text: Along Aurora's quest, she is joined by Rubella, Finn, Norah, Robert, and Tristis. She learns through a series of visions that her father's health is declining and a nearby dam has burst, flooding the area. The people of his kingdom seek his leadership to resolve the crisis, but his combined despair and failing health render him unable to guide them.


title: Child of Light

text: The party eventually locates the mirror back to Aurora's world at the Temple of the Moon. Upon crossing, Aurora is confronted by her stepmother and stepsister Cordelia. Norah reveals that she led Aurora into a trap; her mother and Aurora's stepmother is in fact Umbra herself, and Norah and Cordelia are Nox and Crepusculum, the daughters Umbra sent to steal Lemuria's sun and moon. Aurora further learns that Umbra's arch-enemy, the Queen of Light, is in fact Aurora's mother. Umbra attempts to kill Aurora, but Aurora's false crown—a gift from her father—shields her from Umbra's power. Aurora is thrown into prison and left to die.


title: Child of Light

text: While imprisoned, Aurora has a vision of her mother, who is revealed to have been responsible for Aurora's transporting to Lemuria in order to protect her from Umbra. Upon awakening she is joined by Óengus, and the two free the party. However, upon leaving the tower they are confronted by Crepusculum; Aurora defeats her and retrieves the moon, causing her to change from a child into a grown woman. She and her friends head to the Cynbel Sea seeking the sun, where they are joined by Genovefa.


title: Child of Light

text: After making her way through the Palace of the Sun, Aurora confronts and defeats Nox, regaining the sun. Umbra promptly arrives, enraged at the death of her daughters, but offers Aurora the chance to reunite with her father in exchange for the moon and the stars. Unable to abandon the Lemurians to their fate, Aurora reluctantly tells her father through the portal that she cannot return to him, leading to his death. With the Duke dead, the fake crown protecting Aurora disappears, leaving her vulnerable to Umbra's magic. Severely injured from the attacks, Aurora crawls her way to escape with the sun.


title: Child of Light

text: Igniculus and his firefly friends carry Aurora to the altar where she first woke in Lemuria. Beside the altar is the Lady of the Forest, who reveals herself to be the Queen of Light. She revives Aurora with the aid of all the Lemurians Aurora helped throughout her journey. With Aurora's renewed powers, she quickly flies the party up into the sky to Umbra's castle, and together they defeat Umbra.


title: Child of Light

text: Through one last vision, Aurora learns that the flood is worsening. With the help of all of her Lemurian friends, she goes through the mirror to her world, arriving on Easter Sunday, and rescues all of the people of the Duke's kingdom from the flood by leading them back through the mirror to Lemuria.


title: Child of Light

text: Initially revealed at GDC Europe 2013 by creative director Patrick Plourde, "Child of Light" is said to be inspired by Studio Ghibli and Yoshitaka Amano in its art style, and in presentation similar to games like "Vagrant Story", "Final Fantasy VIII" and "Limbo". During development, the writer was Jeffrey Yohalem. The lead programmer was Brie Code. The game is narrated by Canadian actress Caroline Dhavernas.


title: Child of Light

text: During development, the character of Aurora was going to grow physically throughout the game, aging from 5 to 10, to 15, and to finish around 20 years old; this plot device was likened to an evolution of the character in how her relationships with others and her perspective on life changed, and would mirror the gameplay's RPG mechanics, starting off weak and leveling up. The game would also have had multiple endings, where "the player [would] decide what ending they want". Ultimately, Aurora only ages physically once in the game and there is just one ending. Plourde and Yohalem also discussed the concept of a Prince Charming in the narrative, and how they wanted Aurora to be a strong female character who did not rely on a man or fall in love at the end of the story. Yohalem particularly expressed how love is an "easy way out" for a writer. The narrative instead focuses on growing up in the modern world, sacrificing time to help others, becoming an adult, and how one does that by themselves.


title: Child of Light

text: A final level based in the sky and set after defeating Nox but before fighting Umbra was originally planned but did not make it into the final version of the game; the level revolved entirely around gameplay and no story was removed.


title: Child of Light

text: Though fictional, several aspects of the game are based on reality. Though not explicitly stated in-game, Aurora's duchy in Austria is located in Carniola. An earthquake that hit the capital of Carniola on Easter Sunday in 1895 is adapted into the game's story, where it causes a nearby dam to burst and the capital to be flooded. Similarly, the land of Lemuria that the player explores throughout the game is based on a supposedly lost continent.


title: Child of Light

text: The game was designed using the UbiArt Framework engine, which had previously been used to design "Rayman Origins" and "Rayman Legends". The engine allowed the design team to input concept art directly into the game, giving the game the look of an animated painting and the feel of progressing in an illustration. The team focused on creating a watercolor effect to give the impression of "being awake in an underwater dream". After some of the staff had their children successfully draw Aurora based on the brief description of her being a princess with long red hair and an oversized crown, they knew they had created an iconic character.


title: Child of Light

text: "Child of Light" takes inspiration from many poems, with Plourde describing it as "a playable poem"; the majority of the game's dialogue is portrayed through rhyme delivered in ballad form, in which each four-line stanza sees the second and fourth lines end with rhyming words. Variable iambic syllable counts were used for flexibility, with Yohalem explaining its use to justify varying line lengths and word pairings that don't always perfectly match up. Collectibles in the game called Confessions—secret letters that the player can find floating in the wind and pick up—are delivered in the form of sonnets. Yohalem believes the most difficult challenge he faced while writing for the game was keeping each character's voice distinct from one another despite them sharing the same cadence while rhyming. Yohalem attributes the fairy tale culture of the game to "The Rime of the Ancient Mariner" and also looked to using "Sleeping Beauty" as a thematic element.


title: Child of Light

text: Plourde states that the art was inspired by illustrators such as Arthur Rackham, John Bauer, and Edmund Dulac, as well as the art of Yoshitaka Amano, with whom they partnered in designing some of the characters and in the production of a "Child of Light" painting. The painting was distributed as a European-exclusive poster that came with the deluxe editions of the game on Windows, PlayStation 3, and PlayStation 4.


title: Child of Light

text: Ubisoft also partnered with Cirque du Soleil during the development of the game, who helped provide the game's theatrical feel and costume design.


title: Child of Light

text: The original soundtrack has 18 tracks and was composed by Béatrice Martin, also known as Cœur de pirate, a Canadian singer and songwriter from the province of Québec. Martin worked with the Montreal-based Bratislava Symphony Orchestra in recording some of the songs. Plourde described her music as "fresh, romantic and optimistic", elements he wanted to express with "Child of Light".


title: Child of Light

text: "Child of Light" received positive reviews from critics. Review aggregator website Metacritic gave the PlayStation 3 version 89/100, the Switch version 84/100, the Wii U version 84/100, the PlayStation 4 version 82/100, the Xbox One version 82/100, the Xbox 360 version 74/100, and the PC version 77/100.


title: Child of Light

text: Vince Ingenito of "IGN" lauded the art style and character designs, finding them elegant and complementary to "a combat system that's second to none". Slight criticism was reserved for the dialogue – though he found it endearing, Ingenito believed the "slightly forced" rhyming scheme kept him from getting fully absorbed in the characters. Ingenito ultimately wrote that each facet of its gameplay served to express the developer's intent, rather than to appeal to a broad audience.


title: Child of Light

text: Chris Carter of "Destructoid" similarly praised the aesthetics, from the environments to the "slick" and consistent presentation of the dialogue, but felt that the narrative, while well-paced, didn't exceed his expectations. Carter also appreciated the mechanic of controlling Igniculus to slow enemies during combat, solve puzzles, and refill health and magic via orbs, but criticised the general lack of challenge and the rudimentary character upgrade paths.


title: Child of Light

text: "GameZone" Matt Liebl also enjoyed the "whimsical feel" of "Child of Light" achieved through a combination of visuals, rhyming scheme, and Cœur de pirate's piano score. Liebl, as with Carter, praised the ability to control Igniculus during combat for added depth, and also noted the lack of character customisation. Unlike Carter, however, Liebl felt that underneath the visuals was a "thought-provoking" story and, in comparing the game with contemporary Ubisoft blockbuster releases such as "Watch Dogs" and the "Assassin's Creed" franchise, affirmed that "Child of Light" is "the type of game this industry needs".


title: Child of Light

text: Tom McShea of "GameSpot" further opined that the environments instilled a sense of sadness and felt that the story was "about fear and betrayal, hopelessness and fortitude". He stated that this sombre tone was well contrasted by the frenetic combat system. Unlike other reviewers, Mc Shea believed the challenge of these battles to be perfectly balanced. He echoed the closing statements of Liebl in that he was happy that such a game exists in the industry. In returning to review the game for the Nintendo Switch more than four years later, "GameSpot" reiterated that the game was an equally strong experience.


title: Child of Light

text: "Giant Bomb" Alex Navarro was more critical of the game; he felt that the visual splendor of the game did not leave a lasting impact and thought the narrative uninspired due to its over-reliance on childhood storybook motifs, such as magical kingdoms, evil stepmothers, and rhyming dialogue – the latter of which Navarro particularly struggled with as it clashed with his ability to understand the plot. Considering his agreement with "Destructoid" Chris Carter over a perceived lack of difficulty – at least for the early game – Navarro believed that the game's appeal was thus superficial until towards the end of the game where it was strengthened by "a stronger, more thoughtful, more engaging experience".


title: Child of Light

text: On April 30, 2015, Ubisoft released a free digital book titled "Child of Light: Reginald the Great" to celebrate the game's first anniversary. Written by the game's writer Jeffrey Yohalem, the story of the book revolves around Reginald and his adventures in Lemuria two years after "Child of Light".


title: Child of Light

text: At the time of the book's release in 2015, illustrator Serge Meirinho stated that he was currently involved in a new book set in the "Child of Light" universe, and creative director Patrick Plourde explained that they had two books already written and a third planned, though no further books were released.


title: Child of Light

text: Announced in October 2018, screenwriter Tasha Huo is writing a pilot for a television adaptation of "Child of Light"; in an interview with "Variety", Huo stated that she was "a longtime fan of the game" and wanted to capture the theme of a strong female heroine in a fairy tale world in a live-action show.


title: Child of Light

text: In 2015, Plourde stated that more projects set in the "Child of Light" universe were under development; he had previously said the game was profitable enough to fund a sequel. Ubisoft were reportedly "super happy" with the success of "Child of Light", and as a result established the developers of the game as a core team at Ubisoft Montreal.


title: Child of Light

text: The announcement of the game's upcoming release on the Nintendo Switch in late 2018 also teased a sequel, titled "Child of Light II". Prior to the release of "Child of Light", Plourde remarked on how it could be interesting to look at falling in love "at another time" and commented on possibly returning to the character of Aurora. In an "AMA" (Ask Me Anything) conducted on Reddit following the release of the game, writer Jeffrey Yohalem expressed interest in a sequel, hinting that the contents of the collectible Confessions seen in "Child of Light" could play a central role.


title: Child of Light

text: In a later interview in 2019, Plourde clarified that the teased document summarized a prequel; it would feature multiple protagonists and thematically explore love, friendship, motivations, and detachment – taking inspiration from the ballet "Swan Lake". Visually, the game would retain its watercolor-inspired art. The gameplay would be "more operatic" and "slightly more adult". Plourde expressed that he was unsure if it was still in development but said that he was not involved and that it was unlikely, with most of the core team responsible for the original game having departed the company. With a focus on games as a service, Plourde expressed doubt over the prequel, believing games such as "Child of Light" to be no longer something that Ubisoft would want to make.


title: A Bad Case of Stripes

text: A Bad Case of Stripes is a children's book written and illustrated by David Shannon published in 1998 by Blue Sky Press, a division of Scholastic Press. "A Bad Case of Stripes" highlights the theme of being true to oneself and is commonly used by educators to teach young students important values. Amongst some negative response, this children’s book is also praised for its creativity, illustrations, and meaningful lessons.


title: A Bad Case of Stripes

text: The main character is a girl named Camilla Cream who secretly loves lima beans. However, she doesn't want to eat them because her friends dislike them and Camilla wants to fit in.


title: A Bad Case of Stripes

text: On the first day of school, she wakes up to discover thick, solid-colored stripes all over her body. The family's physician, Dr. Bumble, determines that Camilla is well enough to attend school tomorrow. But when she does the next day, most of the other children tease her and some of the other children call out colors and patterns which cause the colors on her skin to shift around. The principal sends her home as she is proving to be a distraction and calls her parents to keep Camilla home from school till her symptoms wear off.


title: A Bad Case of Stripes

text: At home, Camilla goes through a number of increasingly preposterous metamorphoses. She turns into a pill after being given one and grows roots, berries, crystals, feathers, and a long furry tail after receiving different medicine. She even has viruses, bacteria, and fungus colonies grow on her body after the community's expert scientists discuss these as a possible cause to her situation while examining her. Finally, she melts and merges into her room after an environmental therapist tells her to “become one with the room”.


title: A Bad Case of Stripes

text: Finally, an old lady tells her to eat some lima beans. Camilla is afraid to admit her willingness to eat them at first, but after realizing that this could be her only hope of being cured, she allows the old woman to feed her them. Camilla is successfully reverted to a human and continues to eat lima beans; although her friends consider her strange for liking them (and for her bow being covered in stripes), she doesn't even care a bit. She enjoys being different and never has stripes again.


title: A Bad Case of Stripes

text: "A Bad Case of Stripes" discusses ethics and metaphysics, by highlighting self-perception, identity, and bullying. "A Bad Case of Stripes" teaches a lesson about the importance of being one's true self through a lima bean metaphor. In the beginning of the book, Camilla conforms to peer pressure, which is shown through her chameleon-like trait of blending into her surroundings. Camilla then learns about herself and her surroundings through her “nightmare metamorphosis.” By the end of the book, Camilla “regains her identity when she is true to herself.” In 2018, West Virginia First Lady, Cathy Justice, read this book to young children in honor of the Scholastic Summer Reading Challenge. The reading highlighted the book’s theme of teaching “children to be themselves and to respect those who may be different.”


title: A Bad Case of Stripes

text: "A Bad Case of Stripes" is popular in the curricula of many elementary schools. A 2004 study found that it was a common read-aloud book for fourth-graders in schools in San Diego County, California. A 2007 online poll, the National Education Association listed the book as one of its "Teachers' Top 100 Books for Children."


title: A Bad Case of Stripes

text: According to an elementary school teacher in Pawtucket, Rhode Island, Donna M. Sawyer, Shannon’s story encourages students to consider their own experiences to develop a personal connection. Sawyer uses comprehension instruction with her third-graders to teach "A Bad Case of Stripes". To increase student’s participation level, she incorporates both class-wide and small-group discussion and activities over many classes. For the students, this participation includes finding ways they connect to Camilla, organizing book details “into a story circle visual structure,” and creating episode analysis charts addressing Camilla’s problem, response, actions, and outcome.


title: A Bad Case of Stripes

text: "A Bad Case of Stripes" has also been used in classrooms to prevent bullying. One teacher from Comber, Ontario, Lisa Babula, incorporated a read-aloud, journal reflections, and discussion in literature response groups into three 40-minute class periods. Online games about bullying and an exercise creating a hypothetical problem and solutions were also included in the lesson plan. These activities focus on understanding Camilla’s emotions and addressing the issue of bullying.


title: A Bad Case of Stripes

text: Another approach to teaching "A Bad Case of Stripes" is using it to encourage students to eat their vegetables and to be brave about eating healthily. Students are told to make signs for the cafeteria promoting healthy eating because like Camilla, there are some foods that students might be afraid to eat with their friends.


title: A Bad Case of Stripes

text: "Kirkus Reviews" found that "Shannon's story is a good poke in the eye of conformity--imaginative, vibrant, and at times good and spooky--and his emphatic, vivid artwork keeps perfect pace with the tale." A review by Sandra L. Tidwell said that "Shannon's colored illustrations are vibrant and animated, and they show a particular talent for vividly portraying facial expressions." A review by The Record highlights the children book’s applicability to all ages, stating that in addition to the entertainment and life-lessons the children benefit from, it “offers adults a giggle or two.” A Florida Times Union review states that "A Bad Case of Stripes" is “funny and entertaining,” supported perfectly by “lighthearted, bright, detailed illustrations.” It also received the 1999 Montana Treasure State Picture Book Award.


title: A Bad Case of Stripes

text: A review by Carolyn Noah presents a somewhat negative take, calling the book “disturbing” and “viscerally troubling.” The book addresses anti-peer pressure, but also juggles dark humor. The review states that the book’s “grotesque,” “eye-popping,” and “oppressive” images will haunt the children reading.


title: A Bad Case of Stripes

text: "A Bad Case of Stripes" has also received mixed reviews. A librarian at the University of New Brunswick, Lesley Beckett Balcom, recommends the book with reservations, stating, “the sensational illustrations, bold and surreal, are the strength in a book that tries rather too hard to teach a lesson.” An English teacher at Indiana University Northwest believes that "A Bad Case of Stripes" is “a little preachy at times,” yet this is made up for with the “tongue-in-cheek fun” the illustrations bring to the story. A San Francisco Chronicle article describes Shannon's illustrations as “vibrant,” “hilarious,” and “horrific.”


title: Tweeter

text: A tweeter or treble speaker is a special type of loudspeaker (usually dome, inverse dome or horn-type) that is designed to produce high audio frequencies, typically deliver high frequencies up to 100 kHz. The name is derived from the high pitched sounds made by some birds (tweets), especially in contrast to the low woofs made by many dogs, after which low-frequency drivers are named (woofers).


title: Tweeter

text: Nearly all tweeters are electrodynamic drivers using a voice coil suspended within a fixed magnetic field. These designs operate by applying current from the output of an amplifier circuit to a coil of wire called a voice coil. The voice coil produces a varying magnetic field, which works against the fixed magnetic field of a permanent magnet around which the cylindrical voice coil is suspended, forcing the voice coil and the diaphragm attached to it to move. This mechanical movement resembles the waveform of the electronic signal supplied from the amplifier's output to the voice coil. Since the coil is attached to a diaphragm, the vibratory motion of the voice coil transmits to the diaphragm; the diaphragm in turn vibrates the air, thus creating air motions or audio waves, which is heard as high sounds.


title: Tweeter

text: Modern tweeters are typically different from older tweeters, which were usually small versions of woofers. As tweeter technology has advanced, different design applications have become popular. Many soft dome tweeter diaphragms are thermoformed from polyester film, or silk or polyester fabric that has been impregnated with a polymer resin. Hard dome tweeters are usually made of aluminium, aluminium-magnesium alloys, or titanium.


title: Tweeter

text: Tweeters are intended to convert an electrical signal into mechanical air movement with nothing added or subtracted, but the process is imperfect, and real-world tweeters involve tradeoffs. Among the challenges in tweeter design and manufacture are: providing adequate damping, to stop the dome's motion rapidly when the signal ends; ensuring suspension linearity, allowing high output at the low end of its frequency range; ensuring freedom from contact with the magnet assembly, keeping the dome centered as it moves; and providing adequate power handling without adding excessive mass.


title: Tweeter

text: Tweeters can also work in collaboration with the woofers that are responsible for generating the low frequencies or bass.


title: Tweeter

text: Some tweeters sit outside the main enclosure in their own semi-independent unit. Examples include "super tweeters" and the novel "egg tweeter" by Ohm. The latter plugs in and swivels to adjust the soundfield depending on listener position and user preference. The separation from the baffle is considered to be optimal under the theory that the smallest baffle possible is optimal for tweeters.


title: Tweeter

text: Most tweeters are designed to reproduce frequencies up to the formally defined upper limit of the human hearing range (typically listed as 20 kHz); some operate at frequencies up to approximately in between 5 kHz to 20 kHz. Tweeters with a greater upper range have been designed for psychoacoustic testing, for extended-range digital audio such as Super Audio CD intended for audiophiles, for biologists performing research on animal response to sounds, and for ambient sound systems in zoos. Ribbon tweeters have been made that can reproduce 80 kHz and even 100 kHz.


title: Tweeter

text: All dome materials have advantages and disadvantages. Three properties designers look for in domes are low mass, high stiffness and good damping. Celestion were the first manufacturers to fabricate dome tweeters out of a metal, copper. Nowadays other metals such as aluminium, titanium, magnesium, and beryllium, as well as various alloys thereof, are used, being both light and stiff but having low damping; their resonant modes occur above 20 kHz. More exotic materials, such as synthetic diamond, are also being used for their extreme stiffness. Polyethylene terephthalate film and woven silk suffer less ringing, but are not nearly as stiff, which can limit their very high frequency output.


title: Tweeter

text: In general, smaller dome tweeters provide wider dispersion of sound at the highest frequencies. However, smaller dome tweeters have less radiating area, which limits their output at the lower end of their range; and they have smaller voice coils, which limit their overall power output.


title: Tweeter

text: Ferrofluid is a suspension of very small (typically 10 nm) iron oxide magnetic particles in a very low volatility liquid, typically a synthetic oil. A wide range of viscosity and magnetic density variants allow designers to add damping, cooling, or both. Ferrofluid also aids in centering the voice coil in the magnetic gap, reducing distortion. The fluid is typically injected into the magnetic gap and is held in place by the strong magnetic field. If a tweeter has been subjected to elevated power levels, some thickening of the ferrofluid occurs, as a portion of the carrier liquid evaporates. In extreme cases, this can degrade the sound quality and output level of a tweeter, and the fluid must be removed and new fluid installed.


title: Tweeter

text: Tweeters designed for sound reinforcement and musical instrument applications are broadly similar to high fidelity tweeters, though they're usually not referred to as tweeters, but as "high frequency drivers". Key design requirement differences are: mountings built for repeated shipping and handling, drivers often mounted to horn structures to provide for higher sound levels and greater control of sound dispersion, and more robust voice coils to withstand the higher power levels typically encountered. High frequency drivers in PA horns are often referred to as "compression drivers" from the mode of acoustic coupling between the driver diaphragm and the horn throat.


title: Tweeter

text: Various materials are used in the construction of compression driver diaphragms including titanium, aluminium, phenolic impregnated fabric, polyimide and PET film, each having its own characteristics. The diaphragm is glued to a voice coil former, typically made from a different material from the dome, since it must cope with heat without tearing or significant dimensional change. Polyimide film, Nomex, and glassfibre are popular for this application. The suspension may be a continuation of the diaphragm and is glued to a mounting ring, which may fit into a groove, over locating pins, or be fastened with machine screws. The diaphragm is generally shaped like an inverted dome and loads into a series of tapered channels in a central structure called a phase plug, which equalizes the path length between various areas of the diaphragm and the horn throat, preventing acoustic cancellations between different points on the diaphragm surface. The phase plug exits into a tapered tube, which forms the start of the horn itself. This slowly expanding throat within the driver is continued in the horn flare. The horn flare controls the coverage pattern, or directivity, and as an acoustic transformer, adds gain. A professional horn and compression driver combination has an output sensitivity of between 105 and 112 dB/watt/meter. This is substantially more efficient (and less thermally dangerous to a small voice coil and former) than other tweeter construction.


title: Tweeter

text: Cone tweeters have the same basic design and form as a woofer with optimizations to operate at higher frequencies. The optimizations usually are:


title: Tweeter

text: Cone tweeters were popular in older stereo hi-fi speakers designed and manufactured in the 1960s and 1970s as an alternative to the dome tweeter (which was developed in the late 1950s). Cone tweeters today are often relatively cheap, but many of those in the past were of high quality, such as those made by Audax/Polydax, Bozak, CTS, JBL, Tonegen and SEAS. These vintage cone tweeters exhibited very flat frequency response, low distortion, fast transient response, a low resonance frequency and a gentle low-end roll-off, easing crossover design.


title: Tweeter

text: Typical of the 1960s/1970s-era was the CTS "phenolic ring" cone tweeters, exhibiting flat response from 2,000 to 15,000 Hz, low distortion and fast transient response. The CTS "phenolic ring" tweeter gets its name from the orange-colored edge suspension ring that it has which is made from phenolic. It was used in many makes and models of well-regarded vintage speakers, and was a mid-priced unit.


title: Tweeter

text: Cone tweeters have a narrower dispersion characteristic that is the same as a cone woofer's. Many designers therefore believed this made them a good match to cone midranges and woofers, allowing for superb stereo imaging. However, the "sweet spot" created by the narrow dispersion of cone tweeters is small. Speakers with cone tweeters offered the best stereo imaging when positioned in the room's corners, a common practice in the 1950s, 1960s and early 1970s.


title: Tweeter

text: During the 1970s and 1980s, the widespread introduction of higher quality audiophile discs and the advent of the CD caused the cone tweeter to fall out of popularity because cone tweeters seldom extend past 15 kHz. Audiophiles felt that cone tweeters lacked the "airiness" of dome tweeters or other types. Nevertheless, many high-end cone tweeters remained in limited production by Audax, JBL and SEAS until the mid-1980s.


title: Tweeter

text: Cone tweeters are now rarely used in modern hi-fi usage and are routinely seen in low cost applications such as factory car speakers, compact stereo systems, and boom boxes. Some boutique speaker manufacturers recently have returned to high-end cone tweeters, especially recreations of CTS phenolic ring models, to create a vintage-sounding product.


title: Tweeter

text: A dome tweeter is constructed by attaching a voice coil to a dome (made of woven fabric, thin metal or other suitable material), which is attached to the magnet or the top plate via a low compliance suspension. These tweeters typically do not have a frame or basket, but a simple front plate attached to the magnet assembly. Dome tweeters are categorized by their voice coil diameter, and range from 19 mm (0.75 in), through 38 mm (1.5 in). The overwhelming majority of dome tweeters presently used in hi-fi speakers are 25 mm (1 in) in diameter.


title: Tweeter

text: A variation is the ring radiator in which the 'suspension' of the cone or dome becomes the major radiating element. These tweeters have different directivity characteristics when compared to standard dome tweeters.


title: Tweeter

text: A piezo (or piezo-electric) tweeter contains a piezoelectric crystal coupled to a mechanical diaphragm. An audio signal is applied to the crystal, which responds by flexing in proportion to the voltage applied across the crystal's surfaces, thus converting electrical energy into mechanical.


title: Tweeter

text: The conversion of electrical pulses to mechanical vibrations and the conversion of returned mechanical vibrations back into electrical energy is the basis for ultrasonic testing. The active element is the heart of the transducer as it converts the electrical energy to acoustic energy, and vice versa. The active element is basically a piece of polarized material (i.e. some parts of the molecule are positively charged, while other parts of the molecule are negatively charged) with electrodes attached to two of its opposite faces. When an electric field is applied across the material, the polarized molecules will align themselves with the electric field, resulting in induced dipoles within the molecular or crystal structure of the material. This alignment of molecules will cause the material to change dimensions. This phenomenon is known as electrostriction. In addition, a permanently polarized material such as quartz (SiO) or barium titanate (BaTiO) will produce an electric field when the material changes dimensions as a result of an imposed mechanical force. This phenomenon is known as the piezoelectric effect.


title: Tweeter

text: Piezo tweeters rarely get used in high-end audio because of their low fidelity, although they did feature in some high-end designs of the late ‘70s, such as the Celef PE1 in which they were utilised as a super tweeter in combination with a conventional dome tweeter. They are often used in toys, buzzers, alarms, bass guitar speaker cabinets, cheap computer or stereo speakers and PA horns.


title: Tweeter

text: A ribbon tweeter uses a very thin diaphragm (often of aluminum, or perhaps metalized plastic film) that supports a planar coil frequently made by deposition of aluminium vapor, suspended in a powerful magnetic field (typically provided by neodymium magnets) to reproduce high frequencies. The development of ribbon tweeters has more or less followed the development of ribbon microphones. The ribbon is of very lightweight material and so capable of very high acceleration and extended high frequency response. Ribbons have traditionally been incapable of high output (large magnet gaps leading to poor magnetic coupling is the main reason). But higher power versions of ribbon tweeters are becoming common in large-scale sound reinforcement line array systems, which can serve audiences of thousands. They are attractive in these applications since nearly all ribbon tweeters inherently exhibit useful directional properties, with very wide horizontal dispersion (coverage) and very tight vertical dispersion. These drivers can easily be stacked vertically, building a high frequency line array that produces high sound pressure levels much farther away from the speaker locations than do conventional tweeters.


title: Tweeter

text: Some loudspeaker designers use a planar-magnetic tweeter, sometimes called a quasi-ribbon. Planar magnetic tweeters are generally less expensive than true ribbon tweeters, but are not precisely equivalent as a metal foil ribbon is lighter than the diaphragm in a planar magnetic tweeter and the magnetic structures are different. Usually a thin piece of PET film or plastic with a voice coil wire running numerous times vertically on the material is used. The magnet structure is less expensive than for ribbon tweeters.


title: Tweeter

text: An electrostatic tweeter operates on the same principles as a full-range electrostatic speaker or a pair of electrostatic headphones. This type of speaker employs a thin diaphragm (generally plastic and typically PET film), with a thin conductive coating, suspended between two screens or perforated metal sheets, referred to as stators.


title: Tweeter

text: The output of the driving amplifier is applied to the primary of a step-up transformer with a center-tapped secondary, and a very high voltage—several hundred to several thousand volts—is applied between the center tap of the transformer and the diaphragm. Electrostatics of this type necessarily include a high voltage power supply to provide the high voltage used. The stators are connected to the remaining terminals of the transformer. When an audio signal is applied to the primary of the transformer, the stators are electrically driven 180 degrees out of phase, alternately attracting and repelling the diaphragm.


title: Tweeter

text: An uncommon way of driving an electrostatic speaker without a transformer is to connect the plates of a push-pull vacuum tube amplifier directly to the stators, and the high voltage supply between the diaphragm and ground.


title: Tweeter

text: Electrostatics have reduced even-order harmonic distortion because of their push-pull design. They also have minimal phase distortion. The design is quite old (the original patents date to the 1930s), but occupies a very small segment of the market because of high costs, low efficiency, large size for full range designs, and fragility.


title: Tweeter

text: The Air Motion Transformer tweeter works by pushing air out perpendicularly from the pleated diaphragm. Its diaphragm is the folded pleats of film (typically PET film) around aluminium struts held in a strong magnetic field. In past decades, ESS of California produced a series of hybrid loudspeakers using such tweeters, along with conventional woofers, referring to them as Heil transducers after their inventor, Oskar Heil. They are capable of considerable output levels and are rather more sturdy than electrostatics or ribbons, but have similar low-mass moving elements.


title: Tweeter

text: Most of the current AMT drivers in use today are similar in efficiency and frequency response to the original Oskar Heil designs of the 1970s.


title: Tweeter

text: A horn tweeter is any of the above tweeters coupled to a flared or horn structure. Horns are used for two purposes — to control dispersion, and to couple the tweeter diaphragm to the air for higher efficiency. The tweeter in either case is usually termed a compression driver and is quite different from more common types of tweeters (see above). Properly used, a horn improves the off-axis response of the tweeter by controlling (i.e., reducing) the directivity of the tweeter. It can also improve the efficiency of the tweeter by coupling the relatively high acoustic impedance of the driver to the lower impedance of the air. The larger the horn, the lower the frequencies at which it can work, since large horns provide coupling to the air at lower frequencies. There are different types of horns, including radial and constant directivity (CD). Horn tweeters may have a somewhat 'different' sonic signature than simple dome tweeters. Poorly designed horns, or improperly crossed-over horns, have predictable problems in the accuracy of their output, and the load that they present to the amplifier. Perhaps concerned about the image of poorly designed horns, some manufacturers use horn loaded tweeters, but avoid using the term. Their euphemisms include "elliptical aperture" "Semi-horn" and "Directivity controlled". These are, nonetheless, a form of horn loading.


title: Tweeter

text: Because ionized gas is electrically charged and so can be manipulated by a variable electrical field, it is possible to use a small sphere of plasma as a tweeter. Such tweeters are called a plasma tweeter or ion tweeter. They can be more complex than other tweeters (plasma generation is not required in other types), but offer the advantage that the moving mass is optimally low - if not relatively massless and so very responsive to the signal input. The early models of these tweeters were not capable of high output, nor of other than very high frequency reproduction, and so are usually used at the throat of a horn structure to manage usable output levels. One disadvantage is that the plasma arc can produce ozone and NOx, poison gases, in small quantities as a by-product. Because of this, German-made Magnat "magnasphere" speakers were banned from import to the United States in the 1980s. Any modern design uses catalysts to reduce the gas output to negligible quantities.


title: Tweeter

text: In the past, the dominant manufacturer in the US was DuKane near St Louis, who made the Ionovac; also sold in a UK variant as the Ionophone. Electro-Voice made a model for a short time under license along with DuKane from the inventor Siegfried Klein. These early models were finicky and required regular replacement of the cell in which the plasma was generated (the DuKane unit used a precision machined quartz cell). As a result, they were expensive units in comparison to other designs. Those who have heard the Ionovacs report that, in a sensibly designed loudspeaker system, the highs were 'airy' and very detailed, though high output wasn't possible.


title: Tweeter

text: In the 1980s, the Plasmatronics speaker also used a plasma tweeter, though the manufacturer did not stay in business very long and very few of these complex units were sold.


title: Guess Who's Back?

text: Guess Who's Back? is a debut official mixtape by American rapper 50 Cent, released May 21, 2002 on independent label Full Clip Records in the United States. It is his first official release after his 2000 effort "Power of the Dollar" went unreleased due to Columbia Records' discovery of a May 2000 shooting where 50 Cent was struck by nine bullets, and was subsequently dropped from the label as a result. The album features production by Trackmasters, DJ Clark Kent, Father Shaheed, Sha Money XL, Red Spyda, and Terence Dudley. "Guess Who's Back"? received generally positive reviews from music critics and peaked at number 28 on the U.S. "Billboard" 200 chart.


title: Guess Who's Back?

text: The album's cover image was later used in the video for 50 Cent's song "Piggy Bank". The album was recorded in Canada after 50 Cent was "blacklisted" in the recording industry and was unable to find a studio to work with in the U.S. As of May 2004, the album has sold over 400,000 copies in the United States.


title: Guess Who's Back?

text: After releasing the album, 50 Cent was discovered by rapper Eminem, who listened to a copy of the album through 50 Cent's attorney, who was working with Eminem's manager, Paul Rosenberg, and he was signed to Interscope Records.


title: Guess Who's Back?

text: The tracks "Your Life's on the Line", "Corner Bodega", "Ghetto Qu'ran" and "As The World Turns" were originally to be released on 50 Cent's shelved album, "Power of the Dollar". "Killa Tape" and "That's What's Up" would later go on to appear on the mixtape, "50 Cent Is the Future". "U Not Like Me" and "Life's on the Line" would later appear on 50 Cent's debut studio album, "Get Rich or Die Tryin"'.


title: Drive-in theater

text: A drive-in theater or drive-in cinema is a form of cinema structure consisting of a large outdoor movie screen, a projection booth, a concession stand, and a large parking area for automobiles. Within this enclosed area, customers can view movies from the privacy and comfort of their cars. Some drive-ins have small playgrounds for children and a few picnic tables or benches.


title: Drive-in theater

text: The screen can be as simple as a painted white wall, or it can be a steel truss structure with a complex finish. Originally, the movie's sound was provided by speakers on the screen and later by individual speakers hung from the window of each car, which was attached to a small pole by a wire. These speaker systems were superseded by the more practical method of microbroadcasting the soundtrack to car radios. This also has the advantage of the film soundtrack to be heard in stereo on car stereo systems, which are typically of much higher quality and fidelity than the basic small mono speakers used in the old systems.


title: Drive-in theater

text: A partial drive-in theater—Theatre de Guadalupe—was opened in Las Cruces, New Mexico on April 23, 1915:


title: Drive-in theater

text: Seven hundred people may be comfortably seated in the auditorium. Automobile entrances and places for 40 or more cars within the theater grounds and in-line position to see the pictures and witness all performances on the stage is a feature of the place that will please car owners.


title: Drive-in theater

text: The first movie shown by the Theatre de Guadalupe was "Bags of Gold", produced by Siegmund Lubin. Theatre de Guadalupe was soon renamed "De Lux Theater" before closing in July 1916.


title: Drive-in theater

text: In 1921, a drive-in was opened by Claude V. Caver in Comanche, Texas. Caver obtained a permit from the city to project films downtown. With cars parked bumper-to-bumper, patrons witnessed the screening of silent films from their vehicles. In the 1920s, "outdoor movies" became a popular summer entertainment, but relatively few "drive-in" experiments were made due to logistical difficulties.


title: Drive-in theater

text: The drive-in theater was patented in Camden, New Jersey by chemical company magnate Richard M. Hollingshead, Jr., whose family owned and operated the R.M. Hollingshead Corporation chemical plant in Camden. In 1932, Hollingshead conducted outdoor theater tests in his driveway at 212 Thomas Avenue in Riverton. After nailing a screen to trees in his backyard, he set a 1928 Kodak projector on the hood of his car and put a radio behind the screen, testing different sound levels with his car windows down and up. Blocks under vehicles in the driveway enabled him to determine the size and spacing of ramps so all automobiles could view the screen. Hollingshead applied for a patent of his invention on August 6, 1932, and he was given on May 16, 1933.


title: Drive-in theater

text: Hollingshead's drive-in opened in New Jersey June 6, 1933, on Admiral Wilson Boulevard in Pennsauken Township, a short distance from Cooper River Park where the first commercial airport to serve Philadelphia was located – Central Airport. Rosemont Avenue now runs through where the theater was and is currently the site of Zinman Furs. It offered 400 slots and a screen. He advertised his drive-in theater with the slogan, "The whole family is welcome, regardless of how noisy the children are." The first film shown was the Adolphe Menjou film "Wives Beware". Failing to make a profit, Hollingshead sold the theater after three years to a Union, New Jersey, theater owner who moved the infrastructure to that city, but the concept caught on nationwide.


title: Drive-in theater

text: The April 15, 1934, opening of Shankweiler's Auto Park in Orefield, Pennsylvania, was followed by Galveston's Drive-In Short Reel Theater (July 5, 1934), the Pico Drive-In Theater at Pico and Westwood boulevards in Los Angeles (September 9, 1934) and the Weymouth Drive-In Theatre in Weymouth, Massachusetts (May 6, 1936). In 1937, three more opened in Ohio, Massachusetts and Rhode Island, with another 12 during 1938 and 1939 in California, Florida, Maine, Maryland, Massachusetts, Michigan, New York, Texas and Virginia.


title: Drive-in theater

text: Early drive-in theaters had to deal with sound issues. The original Hollingshead drive-in had speakers installed on the tower itself, which caused a sound delay affecting patrons at the rear of the drive-in's field. In 1935, the Pico Drive-in Theater attempted to solve this problem by having a row of speakers in front of the cars. In 1941, RCA introduced in-car speakers with individual volume controls which solved the noise pollution issue and provided satisfactory sound to drive-in patrons. Just before World War II, 9 of the 15 drive-in movie theaters open in the United States were operated by Philip Smith, who promoted a family-friendly environment by allowing children to enter free and built playgrounds.


title: Drive-in theater

text: After 1945, rising car ownership and suburban and rural population led to a boom in drive-in theaters, with hundreds being opened each year. More couples were reunited and having children, resulting in the Baby Boom, and more cars were being purchased following the end of wartime fuel rationing. By 1951, the number of drive-in movie theaters in the United States had increased from its 1947 total of 155 to 4,151.


title: Drive-in theater

text: The drive-in's peak popularity came in the late 1950s and early 1960s, particularly in rural areas, with over 4,000 drive-ins spread across the United States in 1958. They were a cheaper alternative to in-door cinema theaters because not only did they save the gas of driving out to the city and then back home, but the cost of building and maintaining a drive-in theater was cheaper than that of an indoor theater, resulting in the lower overall cost of attendance. Among its advantages was the fact that older adults with children could take care of their infant while watching a movie. At the same time, youth found drive-ins ideal for a first date. Unlike indoor cinema theaters, there was an air of informality that was appealing to people of all ages, but specifically to families. The drive-in's success was rooted in its reputation of being a family-friendly place. Parents were able to bring their children to the theater, often in pajamas, without worrying about bothering other movie-goers and were also able to spend time together without paying the expenses of babysitters. Drive-ins catered to their known audience, offering luxuries such as bottle warmers and diaper vending machines, and later miniature golf courses, swimming pools, and even motels on the land with windows facing the screens so that viewers could watch the films from their beds. During the 1950s, the greater privacy afforded to patrons gave drive-ins a reputation as immoral, and they were labeled "passion pits" in the media. The 1978 movie "Grease" portrays the local drive-in as a preferred spot for trysts. This indicates that the drive-in theater experience was a part of North American pop culture during this time, coupled with people's love for cars and movies. It was also popular among young people to meet up and have sex, smoke marijuana and drink alcohol. It was appealing to young people as it allowed them to express freedom and liberty they would otherwise lack at home.


title: Drive-in theater

text: At their height, some drive-ins used attention-grabbing gimmicks to boost attendance. They ranged from drawings for prizes and free admission, small airplane runways, helicopter or hot air balloon rides, unusual attractions such as a small petting zoo or cage of monkeys, personal appearances by actors to open their movies, or musical groups to play before the show. Some drive-ins held Sunday religious services or charged a flat price per car on slow nights like Wednesdays or Sundays. On "buck" or "bargain" nights during the 1950s and 1960s, the admission price was one dollar per car.


title: Drive-in theater

text: As revenue was more limited than regular theaters since showings could only begin at twilight, there were abortive attempts to create suitable conditions for daylight viewing, such as large tent structures, but nothing viable was developed.


title: Drive-in theater

text: One of the largest drive-in theaters was the Johnny All-Weather Drive-In in Copiague, New York. Covering over 29 acres, it could park 2,500 vehicles. It had a full-service restaurant with seating on the roof and a trolley system to take children and adults to a playground and a large indoor theater for bad weather or for those who wanted to watch in air-conditioned comfort.


title: Drive-in theater

text: Several factors contributed to the decline of the drive-in movie industry. Beginning in the late 1960s, drive-in attendance began to decline as the result of improvements and changes to home entertainment, from color television and cable TV to VCRs and video rental in the early 1980s. Additionally, the 1970s energy crisis led to the widespread adoption of daylight saving time (which caused drive-in movies to start an hour later) and lower use of automobiles, making it increasingly difficult for drive-ins to remain profitable.


title: Drive-in theater

text: Mainly following the advent of cable television and video cassette recorder (VCR), then with the arrival of DVD and streaming systems, families were able to enjoy movies in the comfort of their homes. The new entertainment technology increased the options and the movie watching experience.


title: Drive-in theater

text: While exploitation films had been a drive-in staple since the 1950s, helped by relatively limited oversight compared to downtown theaters, by the 1970s, several venues switched from showing family-friendly fare to R-rated and X-rated films as a way to offset declining patronage and revenue, while other venues that still catered to families, began to show R-rated or pornographic movies in late-night time slots to bring in extra income. This allowed censored materials to be viewed by a wider audience, including those for whom viewing was still illegal in some states, and it was also reliant upon varying local ordinances controlling such material. It also required a relatively remote location away from the heavier populated areas of towns and cities.


title: Drive-in theater

text: Overall, drive-in theaters were getting mainly B movies or low-rated films from the movie industry. What is more, while movie rental fees were increasing, the film industry was also expecting drive-in theaters to maintain prolonged time to run the shows. A combination of these factors was creating difficulties for the drive-ins to compete with the growing indoor cinemas.


title: Drive-in theater

text: The runaway inflation and real estate interest rate hikes in the late 1970s and early 1980s made the large land tracts used by drive-ins increasingly expensive and thus far too valuable for continued use as drive-ins. Many Drive-ins operated solely on weekends, while some were open only during the spring and summer months; they were also subject to the whim of nature, as adverse weather often resulted in poor attendance or cancellations. By the late 1980s, the total number of drive-ins still operating in the US and Canada fell to less than two hundred.


title: Drive-in theater

text: In addition to the large amount of space drive-in theaters occupy, many of the old ones also needed to invest to improve their infrastructure. Many of the owners were not willing to make further investment; growing land prices were also making it difficult to invest in and maintain the expense of a drive-in theater business. As many of the drive-in theaters were set up in the outskirts, with the expansion of towns maintaining big property was also becoming difficult and costly.


title: Drive-in theater

text: Many former drive-in movie sites remain, with several re-purposed as storage or flea market sites, often after residential housing or other higher-value uses came to rural or sparsely populated areas where the drive-ins were located. In Michigan, former drive-in properties have become industrial parks, shopping centers, indoor theaters, and even churches (as with the Former Woodland Drive-In in Grand Rapids, MI). In Philadelphia, the South City Drive-In became the location of the original Spectrum in the late 1960s, with a small portion of its old property line extending into what would become the (now-demolished) Veterans Stadium complex. (Today, that small portion, combined with the original Spectrum location, is part of Xfinity Live! Philadelphia). Another example of a drive in-turned-flea market is Spotlight 88 in North Sewickley Township, Beaver County, Pennsylvania, which ended business as a drive-in after an F3 tornado destroyed much of the property on May 31, 1985. As a joke, after the tornado hit, the owners put up the "now-showing" sign "Gone with the Wind". It was most likely copied from a Taylor, Michigan Drive in called Ecorse Drive-In. On July 16, 1980, a freak derecho storm with 150 mph straight-line winds swept the Drive-In away leaving only the "now-showing" sign with the letters "Now Playing Gone with the Wind". The screen was rebuilt, but the business never recovered; by 1989, it was sold and now is the site of a Kroger grocery store.


title: Drive-in theater

text: Beginning in the late 1970s and extending through the mid-1990s, those drive-ins still operating acquired a quasi-novelty status, catering to the wave of "boomer nostalgia" and loyal patrons. This "retro" appeal eventually led to a revival of sorts by the end of the 1990s.


title: Drive-in theater

text: This resurgence of the drive-in industry led to the inception of the "do-it-yourself" drive-in beginning in 2001, which used contemporary tools such as LCD projectors and micro radio transmitters. The first was the Liberation Drive-In in Oakland, California, which sought to reclaim under-used urban spaces such as vacant parking lots in the downtown area. The following years have had a rise of the "guerrilla drive-in" movement, in which groups of dedicated individuals orchestrate similar outdoor film and video screenings. Showings are often organized online, and participants meet at specified locations to watch films projected on bridge pillars or warehouses. The content featured at these screenings has frequently been independent or experimental films, cult movies, or otherwise alternative programming. Aside from Oakland's Liberation, the best-known "guerrilla" drive-ins include the Santa Cruz Guerilla Drive-In in Santa Cruz, California, North Bay Mobile Drive-In in Novato, California, MobMov in San Francisco, California and Hollywood, and more recently the Guerilla Drive-In Victoria in Victoria, British Columbia.


title: Drive-in theater

text: A similar, more recent concept is the "boutique" drive-in, which caters to a smaller audience, generally 30 to 50 vehicles (with some also offering seats in front of the screen). At the same time, food trucks are often used as concession stands. However, unlike the "guerrilla" format, this type of drive-in also generally presents mainstream fare, current releases, and popular classics. A key feature of this format is the focus on the "vintage" aesthetics of the drive-in.


title: Drive-in theater

text: Faced with the closure of Hull's Drive-In in Lexington, Virginia in 1999, the nonprofit group Hull's Angels formed to raise funds, buy the property, and operate the theater as a nonprofit venture specializing in family-friendly films. Hull's continues to be the nation's only nonprofit drive-in.


title: Drive-in theater

text: By 2006, around 500 drive-in theaters were open in the United States, counting regularly operating venues (about 400) and those that held showings sporadically, usually during summertime, the highest number since the mid-1970s. The industry also rebounded in Canada and Australia during the early 2000s.


title: Drive-in theater

text: In the second half of the 2000s, drive-ins had another decline because of the oil crisis and a worsening economy. Reduced use of automobiles and more people moving out of suburban and rural areas during the 2010s have also put the drive-in's future at risk, with numbers again on the decline. By 2013, drive-ins comprised only 1.5% of total movie screens in the United States, with 389 theaters in operation nationwide, mostly located in the South and the West Coast (at the industry's height, about 25% of the nation's movie screens were at drive-ins). A figure of 348 operating drive-ins was published for the United States in March 2014.


title: Drive-in theater

text: In the fall of 2014, retro-themed burger chain Johnny Rockets announced that it would team up with USA Drive-Ins to open 200 drive-ins by 2018, serving Johnny Rocket's food at the concession stands, but the plan never came to fruition, as did a proposed "Project Drive-In" scheme by Honda, which would have donated digital projectors. By 2018, less than 300 drive-in theaters were reported to operate worldwide, with only a handful outside North America.


title: Drive-in theater

text: The ongoing conversion of film distribution from celluloid to digital also puts additional pressure on drive-in theaters. Most small drive-ins lack the finances (beginning at $70,000 per screen) needed to convert to digital projection. The low volume of ticket sales from the lack of multiple showings also makes justifying the cost of installing digital projection hard for many drive-ins. Conversion of the projection booth to digital is more complex for drive-in theaters. The projector needs a more powerful bulb due to increased screen size and light pollution. In addition, digital projection equipment may require an Internet connection, and the booth must be retrofitted with special glass, more vents, and stronger air conditioning, as well as heat in northern climates.


title: Drive-in theater

text: With installation of Jumbotrons or similar digital display equipment in drive-in theatres, restrictions of the projector booth can be avoided; that is, no projector is needed.


title: Drive-in theater

text: The move to digital conversion took its toll on the industry; by October 2019, figures for operating drive-in theaters rose to 305 because of increased numbers of smaller 'boutique' operations that had never used traditional projectors, while several older drive-ins have closed.


title: Drive-in theater

text: During the COVID-19 pandemic, drive-in theaters reported an unexpected surge in attendance in several U.S. states, as unlike with indoor theaters unable to operate because of bans on mass gatherings, these were allowed to operate, with such events as graduations, because people are automatically separated from each other by their cars, and usually enough space remains to walk around and still practice proper physical distancing.


title: Drive-in theater

text: The largest drive-in theater in the world, the Fort Lauderdale Swap Shop (opened 1963), doubles as the world's largest daily flea market.


title: Drive-in theater

text: There is a renewed interest in drive-in theaters among North American moviegoers. This trend was more apparent in 2020 through 2022. In 2021 Drive-in theaters in North America accounted for 85 to 95 percent of the box office revenue according to CNN. The CNN article also claims that the new experience in drive-in cinemas is gaining popularity not just in North America but in other countries as well. After decades of inactivity drive-in theaters are slowly becoming part of the outdoor movie experience. One of the countries where drive-in theaters is returning is the United Kingdom. There are also new drive-in theaters that have opened recently in North America that intend on staying in business and expanding. Some of the owners believe that the drive-in theatre will renew the outdoor experience in the long run. Some are also projected to open in the coming years with newer designs using electronic screen system to stream the film, improving the set up, as well as concession and public facilities. In the past drive-in theaters were operating in the evening to provide clear picture. But with the new design, moviegoers can go to drive-in theaters at anytime. Just like the TV at home, the new drive-in theater does not have to depend on darkness. One of such newly designed drive-in theaters is LoCo Drive-In by Whitener Company and London Entertainment LLC. The drive-in will also be used for other social activities including car shows and other events. Another example of modern-day drive-in theater is the Drive-In Experience Ottawa that opened in 2020.  Currently, the company has two locations in the Ottawa area.  Apart from movie-nights, the drive-in also hosts live entertainment such as “comedy nights” and concerts as well events including graduations and weddings through site rental.  It provides screen, wireless in-car FM transmission and stage facilities for the events. According to the company, such a community approach will keep the drive-in experience into the future. Ottawa Business Journal also wrote that local business communities and organizations can host their own private movie nights or shows. The drive-in can also be utilized for yoga activities and fitness training.  The director of the company claims that the Drive-In Experience Ottawa’s goal is to provide opportunities for communities to reconnect while striving to host large weekly events and entertainment programs for the Ottawa residents. This new drive-in image is not just in Ottawa. According to CTV, there are also drive-ins in Ontario and other provinces that are expanding their entertainment hosting activities including live concerts while keeping the main core, i.e., to keep family movie experience. In Nova Scotia and New Brunswick, some of the drive-ins host community activities that also include religious events.


title: Drive-in theater

text: The drive-in theater also became popular in Australia during the 1950s and 1960s. The Hoyts Skyline in Melbourne was the country's first drive-in cinema, opening in 1954 with the film "On the Riviera". The drive-in was successful, and four more opened within the year, including Mainline Drive-In in Gepps Cross, South Australia, in October 2021. The number of drive-ins increased across the country in the ensuing years. As these drive-ins were based on the American trend, many served American-style food at snack bars. At the height of their popularity in the mid-1960s, around 330 drive-in theaters were operating in Australia before quickly dropping off. As of 2016, only a dozen drive-in theaters remained in Australia. Gepps Cross Drive-In is due to close at the end of February 2022, owing to various factors which have affected its viability over the years, including "the changing nature of the cinema industry, the introduction of daylight saving, film piracy and now the lengthy COVID-19 epidemic".


title: Drive-in theater

text: The world's most remote drive-in may be at Coober Pedy, South Australia. It opened in 1965, but became less popular after 1980 with the arrival of television in the town, and ceased regular operation in 1984. It was reopened in 1996, and has been operated by volunteers since 2000. It is still in operation , and the closure of the Mainline in February 2022 makes it the last drive-in theater in the state of South Australia after February 2022.


title: Drive-in theater

text: Germany's first drive-in theater, the Gravenbruch, opened in April 1960 in a suburb of Frankfurt with a screening of "The King and I". The only other drive-ins in Europe at the time were in Rome, Italy and Madrid, Spain.


title: Drive-in theater

text: In 1919, Athens, Greece opened their first outdoor theater that eventually led to the popularity of drive-in theaters in the 1970s. Three years before then, two men displayed a short silent film on a wall of the city. Greece's first drive-in theater began construction in 1960 near Varibobi, a suburb of Athens, and was planned to open in August 1961. Viewers today have the option to eat classic movie refreshments such as popcorn, or even native Greek snacks such as grilled calamari and souvlaki.


title: Drive-in theater

text: The Philippines' shopping mall chain SM Supermalls opened the country's first drive-in theater near SM City Pampanga on July 31, 2020. It also opened a temporary drive-in cinema at the SM Mall of Asia concert grounds on September 9, 2020. Currently there are two locations for SM Supermalls drive-in theaters. Movies by the Bay Drive-In Cinema is located at the SM Mall of Asia, Seaside Blvd, Pasay City in the National Capital Region, Metro Manila.


title: Mohammedan SC (Kolkata)

text: Mohammedan Sporting Club is an Indian multi-sports club based in Kolkata, West Bengal. Its football team competes in I-League, the second-tier of Indian football, as well as in Calcutta Football League (CFL), the oldest football league in Asia. Formed in February 1891, it is one of the oldest active football clubs in the country.


title: Mohammedan SC (Kolkata)

text: It was over three decades later since the foundation, the club became affiliated with the Indian Football Association (IFA) to play in the second division of CFL before earning promotion to the premier division of CFL in 1933 and a year later, Mohammedan became the first Indian team to win the league and in 1938 became the first team to win it for five consecutive times. After the independence of India, Mohammedan became the first Indian club to win a football tournament on foreign soil by lifting the Aga Khan Gold Cup in 1960. In 1996, the club was one of the founding members of India's first nationwide league – National Football League (NFL). Mohammedan has never won a top-tier league, only managing to win the 2004–05 NFL Second Division to qualify for NFL and the 2020 I-League Qualifiers to qualify for I-League, which was then the first-tier league of India. They have won the Federation Cup twice in 1983–84 and 1984–85.


title: Mohammedan SC (Kolkata)

text: Founded during the early years of India's independence movement, Mohammedan had been a symbol of progressive Muslim identity through the tumultuous period of rebellion and the subsequent struggle for status in an altered post-partition landscape. Therefore the club is primarily supported by the Muslim population of Bengal and it had provided a major backing to the community residing in Kolkata by spreading the sport to a sizeable population during its foundation days. This led to communal rivalry with its cross-town competitors – East Bengal and Mohun Bagan (now ATK Mohun Bagan), which were primarily supported by the Hindu population of Bengal during the early decades. The rivalries with both the teams have become non-communal and mostly insignificant over the course of time due to the rarity of meeting them at major tournaments.


title: Mohammedan SC (Kolkata)

text: In 1887, under the leadership of Khan Bahadur Aminul Islam, a sporting club named "Jubilee Club" was founded, which was later renamed into "Crescent Club" and then into "Hamidia Club." Finally in 1891, Islam reformed the club and named it "Mohammedan Sporting Club" to represent the Bengali Mohammedans living in Calcutta. The club participated in a number of local tournaments after its foundation but came into prominence only after they won the Cooch Behar Cup in 1902, 1906 and in 1909. Initially, the club's objective wasn't strictly communal, and the club members often showed sincere appreciation towards achievements of its counterpart – Mohun Bagan AC, which was then supported by both Bengali Hindus as well as Muslims. During Mohun Bagan's historic 1911 IFA Shield victory, the members of the club "were almost mad and rolling on the ground with joyous excitement on the victory of their Hindu brethren."


title: Mohammedan SC (Kolkata)

text: Khan Sahib Syed Ahmed Rashid took a very keen interest in the social and sporting life in Bengal and was the elected Joint Secretary of Mohammedan, from 1925 to 1932. Although it was not before 1927 that the financial condition of the club improved when the team was able to play in the second division of the Calcutta Football League (CFL). In order to overcome the precarious financial state of the club, the Joint Secretaries of the club made an appeal to the public "to support a scheme of the club, extending its activities in the social sphere of Muslims", and also requested for donations of ₹3,500 to ₹4,500. With the improved performances of the club in every sport it participated, the management was able to acquire a considerable amount of investment which helped the club to build better teams. Due to Rashid's widespread influence in sports in Bengal, Sir Francis Stanley Jackson, the Governor of Bengal, accepted the patronage of the club.


title: Mohammedan SC (Kolkata)

text: During Satyagraha, Rashid helped to organise and make the club participate in the Monsoon League in 1930, the CFL in 1930 and 1931, and number of other sports tournaments, when every native club was boycotting sporting events, which was greatly appreciated by IFA, Bengal Hockey Association and Cricket Board of Control in Bengal and Assam. In 1930, Mohammedan finished last in the league table and was on the verge of being relegated out of the CFL 2nd Division, but was allowed to continue when one of the second division teams – East Indian Railway discontinued.


title: Mohammedan SC (Kolkata)

text: One of the club officials, CA Aziz concentrated on creating a strong team through modern strategies and was one of the only Indians to first realise the importance of playing in boots. Aziz recruited Mohun Bagan rejects like Kaleh Khan and Hafiz Rahid in 1931, and also players from different parts of India were gradually brought in, often in the name of religion. Players like Masum, Mahiuddin and Rahmat came from Bangalore, while Jumma Khan arrived from North-West Frontier Province, thus forming a truly cosmopolitan team. The whole team had a Muslim core, with no players outside the community. This helped Aziz to create unmatched unity in his squad which showed on and off the field. In 1933, Mohammedan qualified for the premier division of CFL for the first time in its history by topping the second division. Under the captaincy of Khurshid Anwar, Mohammedan became the first native club to capture the CFL title in 1934, in their very first year in top division. In March 1935, he was unanimously elected as the General Secretary of the club for the second time and in October that year he organised a successful tour to Rangoon, Mandalay, Maymyo, Colombo, Galle, Kandy, Madras, Bangalore and Mysore for the football team. That year, the captain's armband was handed over to the young and charismatic Abbas Mirza and later in the summer, Mohammedan recruited goalkeeper Osman Jan from Crescent Club in Delhi. With Osman Jan under the bar, Taj Mohammad and Jumma Khan"," were part of a strong and formidable back-line. The trio of Rahim, Hafiz Rashid and Rahmat led the goalscoring duties and, Rashid and Rahim would go on to become the league's top scorer in 1935 with 16 goals and 1938 with 18 goals respectively. Along with new and young recruits every year, two defining names remained constant in the team – Syed Abdus Samad, who joined in 1933, and Mohammed Salim, who returned for a second spell in 1934. In 1936, Mohammedan became the first all-Indian team since 1911 to win IFA Shield by defeating Calcutta CFC in the final by 2–1 with goals from Rashid Jr. and Rahim. With their third league win that year, they also became the first Indian club to win the League-Shield "double". During this time, Salim took trials at Celtic FC, and was selected for the team but after playing two friendlies in Scottish Football Alliance, he returned to Mohammedan being homesick, even though being offered contracts from Celtic as well as from clubs in Germany. Thus, he became the first Indian to play for a foreign club. From 1934 to 1938, Mohammedan won the league for record five consecutive times and missed out the title only once in 1939 from 1934 to 1941, when they declined to play in protest against IFA. By this time Mohammedan became the undisputed "Invincibles" of CFL and football in India was no more only about the British against the Indians but also the Hindus (via Mohun Bagan and East Bengal Club) versus the Muslims.


title: Mohammedan SC (Kolkata)

text: Mohammedan's another great achievement came in the form of Durand Cup, which was then reserved only for British and British-Indian regimental teams until 1940, when civilian teams were also allowed to participate due to most regiments called in for World War II. The final was scheduled on 12 December 1940 at Irwin Amphitheatre in New Delhi and numerous eminent Muslim politicians flew in from far-off cities like Calcutta, Dhaka, Hyderabad and Bhopal, while common supporters arrived in trains and tongas to watch the match. It was also the first time a football game of such importance was being officiated by an Indian referee, Captain Harnam Singh. Along with around 1,00,000 spectators, as per traditions, Lord Linlithgow, the Viceroy of India, stood witness as Mohammedan defeated Royal Warwickshire Regiment 2–1, under the captaincy of Masum and goals coming from Rashid and Saboo. This victory by a team of only Muslim players at the capital city provided a massive boost to the Muslim national movement in the country. They also captured the Rover's Cup without conceding a goal in the tournament and beating Bangalore Muslims FC 1–0 in the final, thus creating another unique record of holding CFL, Durand Cup and Rover's Cup titles all in the same year. Their successes led to frenzied support from Muslims in every city of India, followed by increased number of donations to improve the club. They had an abundance of finances and were the first Indian team to play with boots, with a focus on proper diet and physical fitness for their players. In 1941, they won their second Shield, when they beat King's Own Scottish Borderers in the final. They also became the first Indian team to score 100 goals in a year, when they scored 110 goals in all competitions that year. They also became the first Indian club to retain the Shield, when they saw off East Bengal's challenge in 1942 final with a goal from Noor Mohammad. Due to the huge popularity, in 1943, Kaiser Shumsher Jung Bahadur Rana, the Prime Minister of Nepal, came all the way to Calcutta to play for Mohammedan, thus he became the first non-Muslim and Hindu player to don Mohammedan colours. The following years until the Independence of India, Mohammedan lost its dominance and failed to bring back any major silverware into their club tent.


title: Mohammedan SC (Kolkata)

text: After the partition in 1947, the club lost many of its elite patrons, members as well as players, who chose to move to newly formed Islamic state of Pakistan, and soon there was a struggle to run which became evident with the club's performance in major tournaments. Yet, few players returned to continue playing for Mohammedan as foreign nationals. Regardless, the club managed to win the first CFL title in the post-independent India in 1948. Mohammedan continued to bring in numerous football talents from Pakistan and Masood Fakhri became the first Pakistani international to sign with the club in 1955. After 8 years of title drought, Mohammedan went on to win the Rover's Cup for the second time in 1956 by beating the defending champions Mohun Bagan 3–1 in the final. The Rover's Cup win paved the way to regain Mohammedan's lost dominance over football in India and bagged the League-Shield double of CFL and IFA Shield next year. In the league, Mohammedan surpassed East Bengal by a point and defeated Railways 3–0 in the Shield final. By the 1960s, Mohammedan changed its rules and formed teams with players from other communities too. In 1960, as a top club of India, Mohammedan was invited to the Aga Khan Gold Cup, which was at that time considered a continental tournament to determine the unofficial Asian champions. Held in Dhaka, Mohammedan became the first Indian side to win a trophy on foreign soil, beating the Perserikatan champions Persatuan Sepakbola Makassar 4–1 in the final. The match is still considered to be one of the greatest matches ever played in Dhaka, and also featured renowned Pakistani forward Mohammad Omar Baloch for Mohammedan. Despite considerably low performance domestically, Mohammedan was still one of the biggest crowd pullers, especially in Delhi, during Durand Cup and DCM Trophy. The next CFL success came only after a decade since their last win, when Mohammedan became the champions without losing a single match, registering their tenth CFL title. In 1971, Mohammedan won the IFA Shield without conceding a goal and by defeating Tollygunge Agragami FC 2–0 in the final.


title: Mohammedan SC (Kolkata)

text: In the 80s, the success came at the beginning with Mohammedan winning the '81 CFL unbeaten for the third time, surpassing Mohun Bagan by a point. The following year, Mohammedan appointed one of the iconic Indian footballers, Syed Nayeemuddin to coach the team and also roped in the biggest foreign names, Iranian duo Majid Bishkar and Jamshid Nassiri, from their local rivals East Bengal. Bishkar became the first player to play for Mohammedan with the experience of appearing in FIFA World Cup. In 1983, Mohammedan won its first Federation Cup, which was then the only true national championship, by defeating Mohun Bagan 2–0 in the final, and successfully defended the Cup by defeating East Bengal 1–0 in the next year's final. In 1985, they signed Nigerian striker Chima Okorie from Chandigarh FC, who was considered one of the greatest foreign players in India. The later 80s saw a continued drop in performance, winning only minor silverwares with only major success coming in the form of 1987 Rover's Cup. In 1990, Mohammedan participated in the Jawaharlal Nehru Centenary Club Cup, which was the only international club tournament held in India. Mohammedan, as the only Indian team, qualified for the semi-finals by defeating the Zambian national team 1–0 and FC Metalist 1925 Kharkiv 1–0 but losing 2–0 to Gimnasia Esgrima. In the semi-final, Mohammedan lost 1–0 to Paraguayan Primera División champion Club Olimpia. Nigerian midfielder Emeka Ezeugo of Mohammedan was awarded Taj Bengal Trophy for player of the tournament. Mohammedan was nominated from India to participate in the 1992–93 Asian Cup Winners' Cup and was scheduled to play against Omani Professional League champions Fanja SC in the first round but they withdrew their team from the competition. Near the end of the century, all the "'Big Three"' clubs of Maidan faced serious financial jeopardy due to increased expenses to compete at the top level and limited source of income, only relying upon supporters' fund and contributions from individuals often belonging to political field. The players were being unpaid for months at a time and coaches were frequently being replaced due to unimproved performance. Mohammedan's trophy drought continued and in 1996 they became one of the founding members of India's first national league – National Football League (NFL). Under the coaching of newly appointed Mridul Banerjee, Mohammedan finished in the bottom two of group table and was relegated to NFL 2nd Division in their debut season. In the following season, Mohammedan finished in the bottom half of the group table, therefore getting relegated from NFL 2nd Division as well. During this time, Vijay Mallya owned United Breweries Group, approached with partnership offers to Mohammedan along with the other two Maidan clubs – Mohun Bagan and East Bengal, but the club being named after Prophet Muhammad refused to accept funding from a liquor brand. After two seasons, Mohammedan once again qualified for NFL 2nd Division in 2000–01 only to get relegated once again. With hopes of improving the standards, Mohammedan signed their first foreign coach, former Nigerian club player, Chibuzor Nwakanma. In the next season, the club played in the NFL 2nd Division under the coaching of Mohammed Habib and achieved promotion by finishing second in the final league table. Club icon, Nassiri, was put in-charge for the club's second NFL campaign by newly appointed technical director, PK Banerjee, a renowned footballer as well as coach himself, but Mohammedan suffered another relegation. With the return of Habib as the coach, the club successfully won the 2004–05 NFL 2nd Division, thereby achieving promotion. With renowned tactician Subhas Bhowmick at the helm, the club finished eighth in the 2005–06 NFL and avoided relegation from NFL for the first time, but the following season they eventually got relegated by finishing ninth in the table. Until then NFL and NFL 2nd Division were semi-professional football leagues, but in 2007 the leagues were reformed into professional I-League and I-League 2nd Division respectively. With the appointment of Shabbir Ali as the official coach of the club, Mohammedan achieved promotion to 2008–09 I-League but got relegated after finishing eleventh in the table. In November 2010, Mohammedan organised Platinum Jubilee Celebration Cup tournament to commemorate the 75th anniversary of their 1934 CFL win, with Mohun Bagan, East Bengal and the world's oldest existing football club Sheffield FC being invited to play. As brand ambassador of Mohammedan, former Indian cricket captain Sourav Ganguly played for the club, wearing number 99 jersey, against East Bengal in a 1–0 defeat. The tournament culminated with a Kolkata Derby, where East Bengal emerged victorious after a penalty shoot-out. In 2013, under Sanjoy Sen, Mohammedan would achieve promotion to I-League and also put an end to a long wait for major success by winning Durand Cup and then the 2014 IFA Shield by beating Bangladesh Premier League runners-up Sheikh Jamal Dhanmondi Club in the penalty shootout. But once again faced relegation in the 2013–14 I-League after finishing at the bottom of the table. Later in 2015, they participated in Sheikh Kamal International Club Cup in Bangladesh.


title: Mohammedan SC (Kolkata)

text: The club showed major signs of reformation in 2016, when Ghazal Uz Zafar, a Kolkata-based young entrepreneur, took over as the General Secretary of the club. It was under his secretaryship, the club became runners-up in 2016 CFL after eight years and also lifted the 2016 Sikkim Governor's Gold Cup for the first time since 1980 by defeating Jhapa XI of Nepal by 1–0. In 2018, they emerged as the champions of Bordoloi Trophy, defeating Oil India Limited by 3–1 margin. But their wait for success in the national league and other major tournaments was yet to come to an end.


title: Mohammedan SC (Kolkata)

text: In October 2020, under the secretaryship of Sk. Wasim Akram, Mohammedan for the first time entered into a joint-venture with a Gurgaon based sports management company Bunkerhill, with an aim to eventually qualify or enter the Indian Super League, which had been promoted as the top-tier league in 2019. With newly appointed Spanish coach José Hevia, Mohammedan got promoted to 2020–21 I-League after winning 2020 I-League Qualifiers, which temporarily had replaced the traditional I-League 2nd Division due to COVID-19 pandemic restrictions. The club signed previous I-League season's top scorer, Pedro Manzi along with Bangladeshi football team captain Jamal Bhuyan for their AFC quota. After Hevia being sacked mid-season, Mohammedan finished at sixth under their technical director Sankarlal Chakraborty. In May 2021, the club appointed Russia's former assistant coach Andrey Chernyshov, and with him at the helm, Mohammedan reached the Durand Cup final for the first time since 2013 but fell short against FC Goa by just a solitary goal. The following month, Mohammedan clinched their twelfth CFL title after forty long years of wait by defeating Railway FC 1–0 in the final of a newer and shorter knock-out format. As one of the title contenders with Serbian midfielder Nikola Stojanović holding the captain's arm-band and Trinbagonian international Marcus Joseph leading the goalscoring charts by 15 goals, Mohammedan for the first time ran for their maiden national league title at 2021–22 I-League, but finished second after a 2–1 defeat against the table toppers Gokulam Kerala FC on the final matchday in a must win situation. In October, the club retained their CFL title.


title: Mohammedan SC (Kolkata)

text: The crest of Mohammedan Sporting Club is derived from the typical Islamic iconographic symbol used in various historical contexts. It has the star and crescent in middle, which is partially surrounded by floral patterns and, the name of the club, its year of foundation and the country based inscribed below within the shapes of waving banners. The colour of the crest is also in accordance to the Quranic colour of green.


title: Mohammedan SC (Kolkata)

text: The club had adopted the nickname of "Black Panthers" since their Blank Panther inspired jerseys for 2020–21 season, which also resembled their traditional club colours of black (primary) and white (secondary), hence historically they were often termed as "সাদা–কালো ব্রিগেড" ().