Chinese dragon known as East Asian dragon or Long or Lung, are legendary creatures in Chinese mythology, Chinese folklore, East Asian culture at large. Chinese dragons have many animal-like forms such as turtles and fish, but are most depicted as snake-like with four legs, they traditionally symbolize potent and auspicious powers control over water, rainfall and floods. The dragon is a symbol of power and good luck for people who are worthy of it in East Asian culture. During the days of Imperial China, the Emperor of China used the dragon as a symbol of his imperial strength and power. In Chinese culture and outstanding people are compared to a dragon, while incapable people with no achievements are compared to other, disesteemed creatures, such as a worm. A number of Chinese proverbs and idioms feature references to a dragon, such as "Hoping one's son will become a dragon"; the Chinese dragon was associated with the Emperor of China and used a symbol to represent imperial power. The founder of Han dynasty Liu Bang claimed that he was conceived after his mother dreamt of a dragon.

During the Tang dynasty, Emperors wore robes with dragon motif as an imperial symbol, high officials might be presented with dragon robes. In the Yuan dynasty, the two-horned five-clawed dragon was designated for use by the Son of Heaven or Emperor only, while the four-clawed dragon was used by the princes and nobles. During the Ming and Qing dynasty, the five-clawed dragon was reserved for use by the Emperor only; the dragon in the Qing dynasty appeared on the first Chinese national flag. The dragon is sometimes used in the West as a national emblem of China though such use is not seen in the People's Republic of China or the Republic of China. Instead, it is used as the symbol of culture. In Hong Kong, the dragon was a component of the coat of arms under British rule, it was to become a feature of the design of Brand Hong Kong, a government promotional symbol. The Chinese dragon has different connotations from the European dragon – in European cultures, the dragon is a fire-breathing creature with aggressive connotations, whereas the Chinese dragon is a spiritual and cultural symbol that represents prosperity and good luck, as well as a rain deity that fosters harmony.

It was reported that the Chinese government decided against using the dragon as its official 2008 Summer Olympics mascot because of the aggressive connotations that dragons have outside of China, chose more "friendly" symbols instead. Sometimes Chinese people use the term "Descendants of the Dragon" as a sign of ethnic identity, as part of a trend started in the 1970s when different Asian nationalities were looking for animal symbols as representations, for example, the wolf may be used by the Mongols as it is considered to be their legendary ancestor; the dragon was the symbol of the Chinese emperor for many dynasties. During the Qing dynasty, the Azure Dragon was featured on the first Chinese national flag, it featured shortly again on the Twelve Symbols national emblem, used during the Republic of China, from 1913 to 1928. The ancient Chinese self-identified as "the gods of the dragon" because the Chinese dragon is an imagined reptile that represents evolution from the ancestors and qi energy.

The presence of dragons within Chinese culture dates back several thousands of years with the discovery of a dragon statue dating back to the fifth millennium BC from the Yangshao culture in Henan in 1987, jade badges of rank in coiled form have been excavated from the Hongshan culture circa 4700-2900 BC. Some of the earliest Dragon artifacts are the pig dragon carvings from the Hongshan culture; the coiled dragon or snake form played an important role in early Chinese culture. The character for "dragon" in the earliest Chinese writing has a similar coiled form, as do jade dragon amulets from the Shang period. Ancient Chinese documented them as such. For example, Chang Qu in 300 BC documents the discovery of "dragon bones" in Sichuan; the modern Chinese term for dinosaur is written as 恐龍. The binomial name for a variety of dinosaurs discovered in China, Mei long, in Chinese means'sleeping dragon'. Fossilized remains of Mei long have been found in China in a sleeping and coiled form, with the dinosaur nestling its snout beneath one of its forelimbs while encircling its tail around its entire body.

From its origins as totems or the stylized depiction of natural creatures, the Chinese dragon evolved to become a mythical animal. The Han dynasty scholar Wang Fu recorded Chinese myths that long dragons had nine anatomical resemblances; the people paint the dragon's shape with a snake's tail. Further, there are expressions as'three joints' and'nine resemblances', to wit: from head to shoulder, from shoulder to breast, from breast to tail; these are the joints. Upon his head he has a thing like a broad eminence, called. If a dragon has no, he cannot ascend to the sky. Further sources give variant lists of the nine animal resemblanc

Blackpool & Fylde Aero Club v Blackpool Borough Council EWCA Civ 13 is a leading English contract law case on the issue of offer and acceptance in relation to Call for bids. In it the Court of Appeal of England and Wales decided that tenders and requests for tenders are accompanied by a collateral contract implying that the requestor will give due consideration to any timely bid. Blackpool Borough Council ran Blackpool Airport, gave a licence to a single company to run pleasure flights to and from the airport. Blackpool & Fylde Aero Club had held this licence since 1975, had been granted it again in 1978 and 1980. In 1983 the current licence was due to expire, the council sent out letters to seven organisations, including the Aero Club, inviting new tenders to a licence to operate light and heavy aircraft from the airport, requiring a reply to be at the Town Hall'not than 12 o'clock noon on Thursday 17 March 1983'. Three organisations replied; the Aero Club sent in a higher bid for both classes of aircraft, placed their offer in the Town Hall letter box at 11 am on the 17th, an hour before the deadline.

The Town Clerk's staff failed to empty the letter box at 12 noon as they were expected to do, as a result the letter was not considered'delivered' until after the deadline, the licence was granted to one of the other bidders, Red Rose Helicopters. After discussions between the Aero Club and the Council it became apparent the letter had been delivered on time, the Council decided to rectify the situation by declaring the previous round of tenders invalid and inviting the submission of new tenders. At this point Red Rose Helicopters, having consulted their lawyers, informed the Council that they were contractually bound to grant the licence to them; as a result of this the Council withdrew their offer of a second round of tenders, pursued the contract with Red Rose Helicopters. The case went to the High Court of Justice; the Council appealed, it was taken to the Court of Appeal, where Roger Toulson QC and Hugh Davies represented the Council, Michael Shorrock QC and Paul Sylvester represented the Aero Club Bingham LJ's leading judgement read: Stocker LJ agreed with Bingham LJ, added: Farquharson LJ agreed with the other two judges, made no comment.

English contract law The Aramis 1 Lloyd's Jill. Textbook on Contract Law. Oxford University Press. ISBN 0-19-926060-5

Liebesschmerz is the second single from the 1999 Schiller debut album Zeitgeist with spoken word passages by German actor and voice actor Hans Paetsch. Paetsch became famous in the German-speaking countries for narrating fairy tales; the trance music single was released on 2 July 1999 and peaked at number 24 on German Singles Chart in 1999. The cover art shows a graphic of a heart. An example of the spoken words: Die Liebe kann alles verlangen, doch auch vergänglich kann sie sein. Producer: Christopher von Deylen, Mirko von Schlieffen Composed by Christopher von Deylen and Mirko von Schlieffen Voice by Hans Paetsch Recorded and mixed at Sleepingroom in Hamburg The music video for "Liebesschmerz" was produced by Heimatfilm and was shot in 1999 by German director Marcus Sternberg. Director of photography was Gero Steffen, it has a length of 3:59 minutes. The video features performing dancers, some of them known from the music video of the single "Das Glockenspiel". Other crew members: Lighting and Grip: Stefan Rüsenberg Official music video of Liebesschmerz The music video of Liebesschmerz The single on Discogs