title: Treason laws in the United States

text: Penalty: Life imprisonment with or without the possibility of parole (eligible in 20 years, if sentenced to life with parole).


title: Treason laws in the United States

text: While treason is a criminal matter under federal and state laws, it may be considered a civil matter under tribal law. The U.S. federal government recognizes tribal nations as "domestic dependent nations". Tribal sovereignty is a form of parallel sovereignty within the U.S. constitutional framework, constrained by but not subordinate to other sovereign entities. The "Indian Civil Rights Act" limits sentences for crimes by tribal courts to no more than one year in jail and a $5,000 fine.


title: Treason laws in the United States

text: There is at least one case of punishment for treason under tribal law. In 1992, the Tonawanda Band of Seneca convicted several members of treason, stripped their tribal membership, and sentenced them to permanent banishment from the Tonawanda Reservation for attempting to overthrow the traditional government.


title: Mohiniyattam

text: Mohiniyattam, (), is an Indian classical dance form that developed and remained popular in the state of Kerala. Kathakali is another classical dance form of Kerala. Mohiniyattam dance gets its name from the word Mohini – a historical enchantress avatar of the Hindu God Vishnu, who helps the good prevail over evil by developing her feminine powers.


title: Mohiniyattam

text: Mohiniyattam's roots, like all classical Indian dances, are in the "Natya Shastra" – the ancient Hindu Sanskrit text on performance arts. However, it follows the Lasya style described in "Natya Shastra", that is a dance which is delicate, eros-filled and feminine. It is traditionally a solo dance performed by women after extensive training, though nowadays men can also perform the dance. The repertoire of Mohiniyattam includes music in the Carnatic style, singing and acting a play through the dance, where the recitation may be either by a separate vocalist or the dancer themselves. The song is typically in Malayalam-Sanskrit hybrid called Manipravalam.


title: Mohiniyattam

text: The earliest mention of the word is found in the 16th-century legal text "Vyavaharamala", but the likely roots of the dance are older. The dance was systematized in the 18th century, was ridiculed as a Devadasi prostitution system during the colonial British Raj, banned by a series of laws from 1931 through 1938, a ban that was protested and partially repealed in 1940. The socio-political conflict ultimately led to renewed interest, revival and reconstruction of Mohiniyattam by the people of Kerala, particularly the poet Vallathol Narayana Menon.


title: Mohiniyattam

text: Mohiniyattam, also referred to as Mohini-attam, is derived from "Mohini" – a famous female avatar of the Hindu god Vishnu in Indian mythology.


title: Mohiniyattam

text: Mohini refers to a divine enchantress or a supreme seductress. She appears in Hindu mythologies during a battle between Devas (good) and Asuras (evil), after the evil had won control of "Amrita" (nectar of immortality). Appearing in her youthful bloom, dressed rapturously she uses her charms to seduce the Asuras, who seeking her favors, give her the "Amrita" to distribute among the evil forces. Mohini after gaining the "Amrita" gives it to the good instead, depriving the evil from gaining immortality.


title: Mohiniyattam

text: The details of the Mohini story varies by the Purana and region, but she is consistently an enchantress avatar of the supreme in Vaishnavism. "Aattam" is a Malayalam language word, and means rhythmic motion or dance. It is a corruption of the sanskrit word Nātyam "Mohiniyattam" thus connotes "a dance of an enchantress, a beautiful woman".


title: Mohiniyattam

text: Mohiniyattam is a classical Indian dance, which by definition traces its repertoire to the foundational text "Natya Shastra". The "Natya Shastra" text is attributed to the ancient scholar Bharata Muni. Its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The text describes the basic elements and the structure of two types of dance: the vigorous, high energy Tāṇḍava dance (Shiva) and the gentle, calmingly graceful Lāsyā dance (Parvati, Shiva's lover). Mohiniyāttam follows the structure and aims of the Lāsyā dance in "Natya Shastra".


title: Mohiniyattam

text: According to Reginald Massey, Mohiniyattam's history is unclear. Kerala, the region where this dance genre developed and is popular, has a long tradition of "lasya" style dances whose basics and structure may be at the root. The earliest evidence of Mohiniyattam, or a Mohiniyattam-like dance tradition is found in temple sculpture of Kerala. The 11th century Vishnu temple at Trikodithanam, and the Kidangur Subramanya temple, have several sculptures of female dancers in Mohiniyattam pose. The textual evidence from 12th century onwards suggest that Malayalam poets and playwrights included Lāsyā themes. The 16th century "Vyavaharamala" by Nambootiri contains the first known mention of the term Mohiniyattam, in the context of a payment to be made to a Mohiniyattam dancer. Another text, "Gosha Yatra", from the 17th century too mentions the term. The 18th century "Balarama Bharatam", a major secondary work on "Natya Shastra" composed in Kerala, mentions many dance styles including "Mohini Natana".


title: Mohiniyattam

text: In the 18th and 19th century, Mohiniyattam grew as dance arts received patronage of competing princely states. In particular, the early 19th century sponsorship and building of a joint Mohiniyattam and Bharatanatyam team of artists by the Hindu king, poet and music composer Swathi Thirunal Rama Varma contributed to the growth and systematization of modern Mohiniyattam.


title: Mohiniyattam

text: In the late 19th and early 20th century, Mohiniyattam was performed by women in the Nayar community, a community in central Kerala. According to Justine Lemos, Mohiniyattam "was a celebration of eroticism, fertility, wealth and hospitality".


title: Mohiniyattam

text: With the spread of colonial British rule in the 19th century India, all classical dance forms of India were ridiculed and discouraged, leading to their severely decline. This was in part the result of the Victorian morality of sexual repressiveness along with Anglican missionaries who criticized Hinduism.


title: Mohiniyattam

text: In the 19th century, Mohiniyattam dance was part of three marriage rituals. They were thali-kettu-kalyanam (marriage thread-marriage), tirandukalyanam (menstrual marriage), and sambhandam (marriage like ritual or informal alliance). It served to keep social balance of castes within society at the time. After Mohiniyattam's stigmatization, the three marriage rituals were deduced to one called kalyanam. Social reformers eventually changed the entire marriage ritual to an institution influenced by the British through a series of laws.


title: Mohiniyattam

text: The seductive gestures and facial expressions during temple dances were caricatured in "The Wrongs of Indian Womanhood", published at the start of the 20th century, as evidence of "harlots, debased erotic culture, slavery to idols and priests" tradition, and Christian missionaries demanded that this must be stopped, launching the "anti-dance movement" or "anti-nautch movement" in 1892. This movement affected all classical dances in India and contributed to their decline, including the stigmatization of Mohiniyattam in the princely states of Travancore and Cochin in the British Empire.


title: Mohiniyattam

text: According to Justine Lemos, the conventional stereotype has been to label the temple dancers as prostitutes and that Mohiniyattam was banned by the Maharaja under pressure from the British rule and his citizens, but an examination of historical evidence suggests that neither did any law or proclamation ban Mohiniyattam nor is there any evidence that dancing girls of Mohiniyattam were devadasis, temple prostitutes or even menial servants of the temple. However, adds Lemos, there is evidence of rewards being given, scholarship being sponsored, and payments being made to the dancers of Mohiniyattam, as well as laws enacted between 1931 and 1938 that – without naming Mohiniyattam – banned devadasis, banned all forms of "lewd dance or theatre", and banned dancing in temples while the princely states of Kerala were part of the British Empire, in a manner similar to bans on Hindu performance arts in Madras, Bombay and Calcutta Presidencies enacted earlier. In 1940, the ban was partially repealed, by allowing "voluntary dances in temples". In 1941, a new law clarified that voluntary dance was permitted, but the dancers should never be paid. This led to protests, public riots and demands by dancers that performance art is a form of economic activity and religious freedom, that Mohiniyattam artists should be paid by the state or the audience, but the state did not pay them.


title: Mohiniyattam

text: Some women continued to dance Mohiniyattam in Hindu temples, regardless of the historic politics during the 1940s.


title: Mohiniyattam

text: The ridicule and bans enacted during the British colonial era contributed to nationalist sentiments, and impacted all Hindu performance arts including Mohiniyattam. It too was revived and reconstructed, particularly in the 1930s by the nationalist Malayalam poet Vallathol Narayana Menon, who helped repeal the ban on temple dancing in Kerala, as well as established the Kerala Kalamandalam dance school and encouraged Mohiniattam studies, training and practice.


title: Mohiniyattam

text: Other significant champions of Mohiniyattam in the 20th century have been Mukundraja, Appiradeth Krishna Panicker, Harichand and guys from Vishnavam,Thankamony, as well as the guru and dancer Kalamandalam Kalyanikutty Amma.


title: Mohiniyattam

text: Mohiniyattam is a "lasya" subgenre of dance, performed in the "Kaisiki vritti" (graceful style), as discussed in ancient Indian performance arts texts such as the "Natya Shastra". More specifically, it is a dance that excels in "Ekaharya Abhinaya" form, that is a solo expressive dance performance aided by singing and music. The dance includes "nritta" (pure dance, solo), "nritya" (expressive dance, solo) and modern productions sometimes include "natya" (play, group dance):


title: Mohiniyattam

text: The basic posture of Mohiniyattam is parted feet, knees bent outwards, an erect upper torso, gentle 8-shape side to side swaying of body along with hips ("Ati Bhanga"). The footwork is soft, sliding and synchronous with the musical beat and acting. The body movement is sometimes described in terms of calming images of nature as the swinging of the palm leaves, and the gentle undulating of ocean waves.


title: Mohiniyattam

text: The basic dance units in Mohiniattam are known as "atavus" or "atavukal", and these are grouped into four: "Taganam", "Jaganam", "Dhaganam" and "Sammisram". The hand and facial gestures of the dance follow the classical text of "Hastha Lakshanadeepika", which has elaborate description of mudras.


title: Mohiniyattam

text: The repertoire sequence of Mohiniyattam is similar to that of Bharatanatyam, so of contains seven items that are performed to a structure described in classical dance texts: Cholkettu (invocation, but starts with offering reverence to a goddess Bhagavati and ends with a prayer to Shiva), Jatisvaram or more precisely "Swarajeti", Varnam (a play wherein she embeds a mimicry for distraction while communicating the underlying story or message), Padam (song), Tillana (dancer's interpretation of melody the musician create), Shlokam and Saptam.


title: Mohiniyattam

text: The costume includes plain white or off-white such as ivory or cream colored sari embroidered with bright golden or gold laced colored brocade (similar to a ceremonial "Kasavu" saree). She wears a fitted "choli" (blouse) matching the sari, below which at the waist is a golden belt which tucks in the end of the sari, and highlights the waist. In front of the saree, below the belt is pleated sheet with concentric bands in gold or saffron colors, which allow freedom of movement and assist in visually communicating the mudra to distant audience.


title: Mohiniyattam

text: The dancer wears relatively simple jewelry and no masks, in contrast to the other major classical dance of Kerala called Kathakali. Her jewelry typically includes items on fingers, wrists, neck and ears (which may have bells). The face makeup is natural, but lips are brilliant red, she has the Hindu tikka ("Gobi") on her forehead and her eyes are lined to help prominently highlight the eye movements during the dance. Her ankles are adorned with leather straps with bells ("chilanka"), feet and fingers colored red with natural dyes. Her hairdo is gathered and tied into a smooth tight round chignon on one side of her head (typically left) and the bun then ringed with fragrant flowers (typically jasmine "mulla").


title: Mohiniyattam

text: For male dancers, they typically wear a dhoti (called the "muti"). Like women, his ankles are also adorned with chilankas, feet and fingers colored red with natural dyes. Like women, he also has the Hindu tikka (Gobi) on his forehead and his eyes are lined.


title: Mohiniyattam

text: The vocals (music) of Mohiniyattam involves various rhythms. There are numerous compositions for a Mohiniyattam repertoire, most of whose lyrics are in Manipravalam, a mixture of Sanskrit, Tamil and Malayalam.


title: Mohiniyattam

text: The musical instruments usually used in Mohiniyattam are Mridangam or Madhalam (barrel drum), Idakka (hour glass drum), flute, Veena, and Kuzhitalam (cymbals). The ragas (melody) are rendered in the "sopana" (steps) style, which is a slow melodic style with roots in the "Natya Shastra".


title: Lists of fastest-selling albums

text: This is a list of the world's fastest-selling albums of recorded music. To appear on the list, the figure must have been published by a reliable source and all sales must have occurred in the first week of release. This list can contain any type of album, including studio albums, extended plays, greatest hits, compilations, various artists, soundtracks and remixes. Market order within the article is ranked alphabetically. Albums within each table are listed in order of number of copies sold and thereafter by the artist's first name.


title: Lists of fastest-selling albums

text: This is a list of the fastest-selling albums in Canada since Nielsen SoundScan tracking began in 1995. "25" by Adele is the fastest-selling album of all time in Canada with over 305,928 copies sold in its first seven days of release.


title: Lists of fastest-selling albums

text: This is a list of the fastest-selling albums in Japan since Oricon was founded in November 1967. The top two sales records were achieved in the same week, on March 28, 2001, as both albums were promoted as a direct competition between J-pop singer-songwriters Hikaru Utada and Ayumi Hamasaki.


title: Lists of fastest-selling albums

text: Luis Miguel holds several of the fastest-selling albums in Mexico. His seventh studio album "Cómplices" sold 320,000 units in its first day alone.


title: Lists of fastest-selling albums

text: This is a list of the fastest-selling albums in New Zealand since the Recording Industry Association of New Zealand, later renamed as Recorded Music NZ, was founded in 1972. "25" by Adele is the fastest-selling album of all time in NZ with over 18,766 copies sold in its first seven days following release.


title: Lists of fastest-selling albums

text: This is a list of the fastest-selling albums in South Korea as recorded by the Hanteo Information System established in 1993. "" by BTS is the fastest-selling album of all time in South Korea with 3,378,633 copies shipped to stores in its first seven days of release.


title: Lists of fastest-selling albums

text: This is a list of the fastest-selling albums in the United Kingdom. "25" by Adele is the fastest-selling album of all time in the UK with just over 803,000 copies sold in its first seven days.


title: Lists of fastest-selling albums

text: † "Be Here Now" was unconventionally released on a Thursday and debuted at number one based on three-day sales of 696,000. Sales from its first full week of availability, which went from Thursday to Wednesday were 813,000, which remains the most copies an album has sold in its first week on sale.


title: Lists of fastest-selling albums

text: This is a list of the fastest-selling albums (pure sales) in the United States since Nielsen SoundScan tracking began on March 1, 1991. "25" by Adele is the fastest-selling album of all time in the US with 3,378,000 copies sold in its first seven days.


title: Lists of fastest-selling albums

text: The following albums predate the introduction of Nielsen SoundScan, and are possibly subject to manipulation or inflation as sales were self-reported by record labels:


title: Boeing KC-767

text: The Boeing KC-767 is a military aerial refueling and strategic transport aircraft developed from the Boeing 767-200ER. The tanker received the designation KC-767A, after being selected by the U.S. Air Force (USAF) initially to replace older KC-135Es. In December 2003, the contract was frozen and later canceled due to corruption allegations.


title: Boeing KC-767

text: The tanker was developed for the Italian and Japanese air forces, who ordered four tankers each. Financing of the development of the aircraft has largely been borne by Boeing, in the hope of receiving major orders from the USAF. Boeing's revised KC-767 proposal to the USAF was selected in February 2011 for the KC-X program under the designation KC-46.


title: Boeing KC-767

text: At the start of the 2000s a considerable and sudden increase in their maintenance costs was leading the U.S. Air Force to run a procurement program for the replacement of around 100 of its oldest KC-135E Stratotankers. Most USAF KC-135s are of the updated KC-135R variant.


title: Boeing KC-767

text: In early 2002 the USAF began negotiations with Boeing on the lease of tankers based on the Boeing 767 after it considered the Airbus A330-based tanker, the KC-330, to be more costly and a higher technical risk. The USAF said that an assessment of the two types "shows that the EADS offering presents a higher-risk technical approach and less preferred financial arrangement". It also said that the larger KC-330 "does not bring with it a commensurate increase in available air-refuelling offload".


title: Boeing KC-767

text: In addition, the KC-767 has manual flight controls with an unrestricted flight envelope. The Boeing tanker officially received the "KC-767A" designation from the U.S. DoD in 2002 and that appeared in the 2004 edition of the DoD Model Designation report.


title: Boeing KC-767

text: For its Commercial Derivative Air Refueling Aircraft program, the USAF decided to lease around 100 KC-767 tankers from Boeing after it was selected. Despite other nations engaging in leasing of military aircraft, there was some criticism. U.S. Senator John McCain questioned whether it is really cost-effective for the USAF to "lease" aircraft at all, particularly as the aircraft would probably not have many, if any, buyers when their U.S. military service ended. The Congressional Budget Office has also criticized the draft leasing agreement as fiscally irresponsible. In November 2003, a compromise was struck whereby the Air Force would purchase 80 KC-767 aircraft and lease 20 more.


title: Boeing KC-767

text: In December 2003, the Pentagon announced the project was to be frozen while an investigation of allegations of corruption by one of its former procurement staffers, Darleen Druyun (who had moved to Boeing in January) was undertaken. Reporter Joseph L. Galloway wrote that some documents found in congressional investigation indicated the A330-based tanker met more of the USAF specifications than the Boeing tanker and had a lower proposed cost. Druyun pleaded guilty and was sentenced to nine months in jail for "negotiating a job with Boeing at the same time she was involved in contracts with the company". Additional fallout included the termination of Boeing CFO Michael M. Sears, who was sentenced to four months in prison in 2005, and the resignation of Boeing CEO Philip M. Condit. The Air Force's KC-767A contract was officially canceled by the DoD in January 2006.


title: Boeing KC-767

text: Boeing continued development of the aircraft. Italy selected the KC-767A and signed a contract in 2002 becoming the launch customer, with delivery set for 2005. The Italian Air Force ("Aeronautica Militare") ordered four aircraft. This version is based on the 767-200ER and is named the "KC-767 Tanker Transport", and is fitted with boom and hose-drogue refueling systems on the centerline with hose-drogue wingpod systems.


title: Boeing KC-767

text: Italy's aircraft became the first KC-767 to be assembled. The aircraft were initially built as 767-200ER commercial airplanes, then flown to a separate facility for conversion into tankers. Italy's first aircraft made its maiden flight on 21 May 2005. Italy's second aircraft arrived for modification at the facility of Boeing's partner, Aeronavali, in Naples, Italy, on 6 May 2005.


title: Boeing KC-767

text: Delivery of the tankers to the Italian Air Force was delayed due to an issue with flutter of the wing pods and other technical issues. Boeing provided a 767 for training during this time. After resolving the issues, Boeing delivered the first KC-767 in January, and the second in March 2011. These aircraft officially entered service on 17 May 2011 with the 14º Stormo. After entering service, the two KC-767s have supported NATO operations in Afghanistan and Libya. The final two tankers were delivered in late 2011.


title: Boeing KC-767

text: In 2001, Japan selected the KC-767 over the Airbus A310 MRTT and signed a contract in 2003. The Japan Air Self-Defense Force (JASDF) ordered four aircraft and has designated the tanker "KC-767J". In June 2005, Japan's first aircraft arrived at Boeing's Wichita, Kansas modification center to be fitted out with the tanker equipment.


title: Boeing KC-767

text: Delivery of the first KC-767J for the JASDF was delayed approximately two years due to development issues and the addition of the aircraft receiving FAA certification. The Japanese version of the tanker is equipped only with the boom refueling system. Boeing and its Japanese representative Itochu agreed with Japan Ministry of Defense (MoD) to pay a penalty fee for the delivery delay, according to the MoD Statement. The first operational KC-767J was delivered to the JASDF on 19 February 2008, with the second KC-767J following on 5 March. The third KC-767 was delivered to the JASDF in March 2009. The three KC-767J aircraft reached initial operational capability (IOC) status with the JASDF in May 2009. The fourth tanker was delivered in January 2010. The aircraft are operated out of Komaki Air Base by 404th Tactical Airlift Tanker Squadron.


title: Boeing KC-767

text: As a low-cost alternative for nations unable to purchase new-build AAR tankers, Israel Aerospace Industries (IAI) developed a variant of the KC-767, designated as the KC-767 Multi Mission Tanker Transport (MMTT). Designed as a cost-effective option against the KC-46 and the A330 MRTT, the KC-767 MMTT involves the conversion of pre-owned Boeing 767s into aerial tankers by the Bedek Aviation Group, a subsidiary of IAI. It is configured to suit the necessities of the customer, with multiple capabilities - including cargo tansport, VIP transport, aerial refueling and ISR.


title: Boeing KC-767

text: As part of its capabilities, the KC-767 MMTT incorporates a special cargo door, built-in cargo pallet capabilities, interchangeable passenger seats and operator consoles, ARP3 wing refueling pods and a fly-by-wire boom refueling system. As part of the conversion process, a significant proportion of the structure, wiring and systems of the aircraft are replaced, upgraded or refurbished, tailored to the customer’s specific requirements.


title: Boeing KC-767

text: According to Bedek, the KC-767 MMTT has a maximum takeoff weight of and a maximum fuel load of , with the capacity to support 13 Lockheed Martin F-16 fighters on missions with a range of .


title: Boeing KC-767

text: The first KC-767 MMTT, converted from a Boeing 767-200ER platform formerly operated by Air China, was tested in 2010; the converted tanker successfully demonstrated the aerial refueling of an IAI Kfir C10 fighter during a 3.5 hour test flight.


title: Boeing KC-767

text: In 2008, IAI was contracted to convert a secondhand Boeing 767-200ER, into an AAR tanker which would also serve as VIP transport, for the Colombian Air Force (CAF). The converted aircraft - nicknamed "Jupiter" (FAC-1202), was successfully tested in September 2010, and was delivered to the CAF in November 2010. The CAF KC-767 MMTT supported US Navy EA-18G Growlers during Exercise Red Flag 19-2 in March 2019.


title: Boeing KC-767

text: In April 2022, Hindustan Aeronautics Limited (HAL) and IAI signed a memorandum of understanding (MOU) to convert six pre-owned civilian aircraft into AAR tankers/freighter aircraft, for the Indian Air Force (IAF). Although the specifications of the selected aircraft are yet to be divulged, Indian representatives have stated that the aircraft likely to be procured for the IAF is the KC-767 MMTT.


title: Boeing KC-767

text: Australia selected the Airbus A330 MRTT in April 2004 after competition with the KC-767 due to the A330's larger fuel and cargo capability.


title: Boeing KC-767

text: Boeing, teamed with BAE Systems and British Airways, offered the KC-767 to the UK's RAF for its Future Strategic Tanker Aircraft. The companies formed the Tanker Transport Services Consortium (TTSC). British Airways would provide the 767 aircraft, Boeing would provide the conversion technology based on its KC-767 tanker design and BAE Systems would perform the majority of aircraft modifications. Marshall Aerospace, Serco, Spectrum, and Capital were also part of TTSC. The Ministry of Defence announced in January 2004 that it had selected the Airbus A330 MRTT to fulfill this requirement.


title: Boeing KC-767

text: The KC-767 was to compete with the A330 MRTT for the Republic of Korea Air Force's procurement of four tanker aircraft. In June 2015, South Korea selected the A330 MRTT over the KC-46 for the procurement.


title: Boeing KC-767

text: In 2013, the Brazilian Air Force Command (FAB) selected IAI to provide two KC-767-300ER MMTT tankers, under its KC-X2 procurement initiative. However, a contract for the supply of the two aircraft was never finalised, and the project was ultimately abandoned.


title: Boeing KC-767

text: On 24 February 2011, Boeing's KC-767 proposal was selected by the USAF as the winning offer to replace part of the KC-135 fleet. The aircraft received the designation KC-46A. Boeing was awarded an initial development contract to build and deliver 18 operational tankers by 2017.


title: Boeing KC-767

text: On 23 January 2007, the KC-767 flight test aircraft set a program milestone by making its first hookup with a receiver aircraft, a Boeing B-52 Stratofortress. The "dry contact" transferred no fuel, but was intended to test the tanker's fifth-generation fly-by-wire telescoping boom. Unlike the KC-135 boom operator, who is prone, the KC-767 operator uses a remote station with a video display. The testing was being done at Edwards Air Force Base, and the test aircraft was destined for Italy once testing was complete.


title: Boeing KC-767

text: The KC-767 extended its air refueling boom and transferred fuel to another aircraft for the first time on 5 March 2007. The tanker completed another test milestone on 12 April 2007 when its aircrew successfully extended and retracted both wing refueling hoses. In November 2007, Boeing decided to shift modification work on the KC-767A tankers for Italy and Japan from subcontractor Aeronavali's facility in Italy to Boeing's Wichita facility in an effort to meet delivery schedules.


title: Genene Jones

text: Genene Anne Jones (born July 13, 1950) is an American serial killer, responsible for the deaths of up to 60 infants and children in her care as a licensed vocational nurse during the 1970s and 1980s. In 1984, Jones was convicted of murder and injury to a child. She had used injections of digoxin, heparin, and later succinylcholine to induce medical crises in her patients, causing numerous deaths. The exact number of victims remains unknown; hospital officials allegedly misplaced and then destroyed records of Jones' activities, to prevent further litigation after Jones' first conviction.


title: Genene Jones

text: Jones was adopted by a nightclub owner and his wife. She worked as a beautician before attending nursing school in the late 1970s.


title: Genene Jones

text: Jones was married to her high school sweetheart between 1968 and 1974, and they had one child during that time. The relationship ended in divorce. Three years later Jones and her husband reconciled and had another child together in 1977. Just before her indictment, she married a 19-year-old nursing assistant. He filed for divorce a short time later.


title: Genene Jones

text: While Jones worked as a licensed vocational nurse (LVN) at the Bexar County Hospital (now University Hospital of San Antonio) in the pediatric intensive care unit, a statistically improbable number of children died under her care. Because the hospital feared being sued, it simply asked all of its LVNs, including Jones, to resign and staffed the pediatric ICU exclusively with registered nurses. No further investigation was pursued by the hospital.


title: Genene Jones

text: Jones left and took a position at a pediatrician's clinic in Kerrville, Texas, some 60 miles northwest of San Antonio. It was here that she was charged with poisoning six children. The doctor in the office discovered two puncture marks in a bottle of succinylcholine (Suxamethonium chloride) in the drug storage, where only she and Jones had access. Contents of the apparently full bottle were later found to be heavily diluted with water, where it was estimated that only 20% of the vial's contents were succinylcholine. Succinylcholine is a powerful short-acting paralytic that causes temporary paralysis of all skeletal muscles, as well as those that control breathing; the drug is used as a part of general anesthetic. A patient cannot breathe while under the influence of this drug. In small children, cardiac arrest is the ultimate result of deoxygenation due to lack of respiration.


title: Genene Jones

text: Jones claimed she was trying to stimulate the creation of a pediatric intensive care unit in Kerrville.


title: Genene Jones

text: In 1985, Jones was sentenced to 99 years in prison for killing 15-month-old Chelsea McClellan with succinylcholine. Later that year, she was sentenced to a concurrent term of 60 years in prison for nearly killing Rolando Santos with heparin.


title: Genene Jones

text: As of May 2016, Jones was held at the Lane Murray Unit of the Texas Department of Criminal Justice. She had been scheduled for mandatory release in 2018 due to a Texas law meant to prevent prison overcrowding. To avoid this, Jones was indicted on May 25, 2017, for the murder of 11-month-old Joshua Sawyer.<ref name="Texas Monthly 7/25/17"></ref> Nico LaHood, Bexar County District Attorney, stated that additional charges could be filed in the deaths of other children. Due to the mandatory early-release law covering Jones' original convictions, she would otherwise have been released upon completion of a third of the original sentence. The new charges were filed to prevent her release. In April 2018, a judge in San Antonio denied a request to dismiss five new murder indictments against Jones. On January 16, 2020, Jones pleaded guilty to the murder of 11-month-old Joshua Sawyer on December 12, 1981 as part of a plea deal in which four other charges were dropped. She was sentenced to life in prison. She will not be eligible for parole until she is roughly 87 years old.


title: Genene Jones

text: She was portrayed by Susan Ruttan in the television movie "Deadly Medicine" (1991) and by Alicia Bartya in the straight-to-video movie "Mass Murder" (2002). She was also featured in a Discovery Channel documentary, "Lethal Injection;" season five episode ten of "Forensic Files" titled "Nursery Crimes"; season one episode three of the British docuseries "Nurses Who Kill" (2016); as well as the "Dark Secrets" season two, episode four of Investigation Discovery's "Deadly Women," and was said to have inspired Annie Wilkes from Stephen King's "Misery".


title: Telecommunications network

text: A telecommunications network is a group of nodes interconnected by telecommunications links that are used to exchange messages between the nodes. The links may use a variety of technologies based on the methodologies of circuit switching, message switching, or packet switching, to pass messages and signals.


title: Telecommunications network

text: Multiple nodes may cooperate to pass the message from an originating node to the destination node, via multiple network hops. For this routing function, each node in the network is assigned a network address for identification and locating it on the network. The collection of addresses in the network is called the address space of the network.


title: Telecommunications network

text: Examples of telecommunications networks include computer networks, the Internet, the public switched telephone network (PSTN), the global Telex network, the aeronautical ACARS network, and the wireless radio networks of cell phone telecommunication providers.


title: Telecommunications network

text: In general, every telecommunications network conceptually consists of three parts, or planes (so-called because they can be thought of as being and often are, separate overlay networks):


title: Telecommunications network

text: Data networks are used extensively throughout the world for communication between individuals and organizations. Data networks can be connected to allow users seamless access to resources that are hosted outside of the particular provider they are connected to. The Internet is the best example of the internetworking of many data networks from different organizations.


title: Telecommunications network

text: Terminals attached to IP networks like the Internet are addressed using IP addresses. Protocols of the Internet protocol suite (TCP/IP) provide the control and routing of messages across the and IP data network. There are many different network structures that IP can be used across to efficiently route messages, for example:


title: Telecommunications network

text: Data center networks also rely highly on TCP/IP for communication across machines. They connect thousands of servers, are designed to be highly robust, provide low latency and high bandwidth. Data center network topology plays a significant role in determining the level of failure resiliency, ease of incremental expansion, communication bandwidth and latency.


title: Telecommunications network

text: In analogy to the improvements in the speed and capacity of digital computers, provided by advances in semiconductor technology and expressed in the bi-yearly doubling of transistor density, which is described empirically by Moore's law, the capacity and speed of telecommunications networks have followed similar advances, for similar reasons. In telecommunication, this is expressed in Edholm's law, proposed by and named after Phil Edholm in 2004. This empirical law holds that the bandwidth of telecommunication networks doubles every 18 months, which has proven to be true since the 1970s. The trend is evident in the Internet, cellular (mobile), wireless and wired local area networks (LANs), and personal area networks. This development is the consequence of rapid advances in the development of metal-oxide-semiconductor technology.


title: BetterHelp

text: BetterHelp is a mental health platform that provides online mental health services directly to consumers. The online counseling and therapy services are provided through web-based interaction as well as phone and text communication. BetterHelp was founded in 2013 by Alon Matas and Danny Bragonier, and acquired by Teladoc, Inc. in 2015. BetterHelp maintained its brand name post acquisition and continues to provide online counseling services to consumers.


title: BetterHelp

text: BetterHelp was founded by Alon Matas in 2013, after he faced personal challenges finding professional counseling services that accommodated his schedule. With the mission of helping all those facing similar challenges in gaining access to professional counseling, Matas partnered with co-founder Danny Bragonier to develop BetterHelp's web-based counseling portal and therapist directory. Revenue had reached a projected $60 million by 2018.


title: BetterHelp

text: BetterHelp is a web-based platform that allows patients to interact with counselors and therapists via a private online message board, live chat, phone and video conferencing and is the world's largest counseling service. The "room" is open 24/7 and can be accessed from any Internet-connected device from any physical location.


title: BetterHelp

text: In 2015, BetterHelp was acquired by Teladoc, Inc., a telehealth company that uses telephone and videoconferencing technology to provide on-demand remote therapy. Teladoc acquired BetterHelp for $3.5 million in cash and a $1.0 million promissory note, with an agreement to make annual payments to the sellers equal to 15% of the total net revenue generated by the BetterHelp business for each of the next three years.


title: BetterHelp

text: In October 2018, BetterHelp gained attention from media personalities after concerns were raised about alleged use of unfair pricing, bad experiences with the app, paid reviews from actors, and terms of service that allegedly did not correspond with ads promoted by professional YouTubers. CEO Alon Matas issued a statement responding to the allegations. YouTube content creators such as PewDiePie and Boogie2988 have spoken out on this issue.


title: BetterHelp

text: BetterHelp has received backlash for supposedly sharing its customers' personal data with Facebook. In its latest privacy policy update, BetterHelp stated: "We may share your information in connection with an asset sale, merger, bankruptcy, or other business transaction." The company has responded to these complaints by saying that law requires BetterHelp to hold on to health data and that they are not subject to HIPAA guidelines.


title: 2point4 Children

text: 2point4 Children is a BBC Television sitcom that was created and written by Andrew Marshall. It follows the lives of the Porters, a seemingly average, working-class London family whose world is frequently turned upside-down by bad luck and bizarre occurrences.


title: 2point4 Children

text: The show was originally broadcast on BBC One from 1991 to 1999, and ran for eight series, concluding on 30 December 1999 with the special episode "The Millennium Experience". Lead actor Gary Olsen (who played the father) died from cancer in September 2000. The show is regularly repeated in the UK. In Australia showings are on UKTV.


title: 2point4 Children

text: The show regularly picked up audiences of up to 14 million throughout the 1990s, with an average of between 6 and 9 million. The final episode was viewed by 9.03 million people.


title: 2point4 Children

text: In 1997 a remake of the show debuted in the Netherlands: "Kees & Co" starring Simone Kleinsma. The remake ran for eight seasons between 1997 and 2006. The first five seasons were adapted from the original English scripts, while the last three seasons featured original storylines and characters. In 2018 it was announced that the remake would return for a ninth season with Simone Kleinsma reprising her role.


title: 2point4 Children

text: The Porters are a working-class family who live in Chiswick, London who at first seem normal enough. Bill is the sensible, level-headed mother who does the cooking and housework whilst working for a bakery with her highly sexed best friend Rona. Ben is the father, who is often just as immature as the children. He runs a heating repair business with his moody and sarcastic assistant Christine.


title: 2point4 Children

text: Jenny is the typical teenage daughter, keen on boys, music and vegetarianism, and David is the mischievous younger brother, who enjoys horror films, aliens and annoying his older sister.


title: 2point4 Children

text: However, the Porters' world is frequently upended by bizarre occurrences and bad luck. Whether it is dealing with flatulent dogs, a frozen body in a freezer in the front room, or even stumbling across a warehouse filled with Shirley Bassey's cast-off ballgowns, anything seems possible in the Porters' world. Traditionally Christmas episodes would feature characters collectively performing a musical number.


title: 2point4 Children

text: The show originally ran from 1991 to 1999. 56 episodes were made over eight series, including six Christmas specials in which the cast performed carols or original theme songs. Although the series was made over the course of eight years, the show's in-universe timeline appears to be much shorter, with Jenny Porter stated to be 14 in series one, yet only just starting university at age 18 in the final series.


title: 2point4 Children

text: Andrew Marshall wrote all of the episodes, except for three in series seven which were written by Paul Alexander, Simon Braithwaite and Paul Smith.


title: 2point4 Children

text: BBC Enterprises released a video in 1993, comprising the first three episodes of the series, which are known as: "Leader of the Pack", "Saturday Night and Sunday Morning", and "When the Going Gets Tough, the Tough Go Shopping".


title: 2point4 Children

text: The first three series were released on Region 2 DVD by Eureka Video in 2005. A box set of the first three series was also made available in 2008, again through Eureka Video, with music changes within the episodes. Eureka Video stated that "sales were not good" and they released no further series. 2Entertain, part of BBC Worldwide, say they have tried many times to license the series for distribution by a third party but the high clearance costs for music and imagery used has been the main deterrent.


title: Meningoencephalitis

text: Meningoencephalitis (; from ; ; and the medical suffix "-itis", "inflammation"), also known as herpes meningoencephalitis, is a medical condition that simultaneously resembles both meningitis, which is an infection or inflammation of the meninges, and encephalitis, which is an infection or inflammation of the brain.


title: Meningoencephalitis

text: Veterinarians have observed meningoencephalitis in animals infected with listeriosis, caused by the pathogenic bacteria "L. monocytogenes". Meningitis and encephalitis already present in the brain or spinal cord of an animal may form simultaneously into meningeoencephalitis. The bacterium commonly targets the sensitive structures of the brain stem. "L. monocytogenes" meningoencephalitis has been documented to significantly increase the number of cytokines, such as IL-1β, IL-12, IL-15, leading to toxic effects on the brain.


title: Meningoencephalitis

text: Meningoencephalitis may be one of the severe complications of diseases originating from several "Rickettsia" species, such as "Rickettsia rickettsii" (agent of Rocky Mountain spotted fever (RMSF)), "Rickettsia conorii", "Rickettsia prowazekii" (agent of epidemic louse-borne typhus), and "Rickettsia africae". It can cause impairments to the cranial nerves, paralysis to the eyes, and sudden hearing loss. Meningoencephalitis is a rare, late-stage manifestation of tick-borne ricksettial diseases, such as RMSF and human monocytotropic ehrlichiosis (HME), caused by "Ehrlichia chaffeensis" (a species of rickettsiales bacteria).


title: Meningoencephalitis

text: Other bacteria that can cause it are "Mycoplasma pneumoniae", Tuberculosis, "Borrelia" (Lyme disease) and Leptospirosis.


title: Meningoencephalitis

text: Other causes include granulomatous meningoencephalitis and vasculitis. The fungus, "Cryptococcus neoformans", can be symptomatically manifested within the CNS as meningoencephalitis with hydrocephalus being a very characteristic finding due to the unique thick polysaccharide capsule of the organism.


title: Meningoencephalitis

text: Clinical diagnosis includes evaluation for the presence of recurrent or recent herpes infection, fever, headache, altered mental status, convulsions, disturbance of consciousness, and focal signs. Testing of cerebrospinal fluid is usually performed.


title: Meningoencephalitis

text: Antiviral therapy, such as acyclovir and ganciclovir, work best when applied as early as possible. May also be treated with interferon as an immune therapy. Symptomatic therapy can be applied as needed. High fever can be treated by physical regulation of body temperature. Seizure can be treated with antiepileptic drugs. High intracranial pressure can be treated with drugs such as mannitol. If caused by an infection then the infection can be treated with antibiotic drugs.


title: Keon Alexander

text: Keon Alexander, also known as Keon Mohajeri, is a Canadian actor best known for his television roles as Marco Inaros in "The Expanse", Rami Said in "Tyrant" and Dominick Baptiste in "Impulse".


title: Keon Alexander

text: Alexander is of Persian heritage. His early roles included a guest appearance in an episode of "Flashpoint" (2009) and a six-episode stint in the television adaptation of "Bloodletting & Miraculous Cures" (2010), playing the part of Sri. This was followed by his first film role in "Circumstance" (2011), which won the Audience Award: Dramatic at the 2011 Sundance Film Festival and was ranked one of the 50 best movies of 2011 by "Paste" magazine.


title: Keon Alexander

text: Over the next few years, Alexander appeared in many TV series—including "Murdoch Mysteries" (2012), "Republic of Doyle" (2012), "Legends" (2014), and "Remedy" (2015)—before landing the Recurring Role of Rami Said in FX's "Tyrant", in which he appeared in the second and third Seasons from 2015 to 2016.


title: Keon Alexander

text: Aside from other film and television appearances, Alexander has had two further significant recurring roles, with the first being Dominick Baptiste in the television series "Impulse" (2018) from acclaimed action director Doug Liman.


title: Keon Alexander

text: The second significant recurring role was as Marco Inaros in the critically acclaimed science fiction series "The Expanse". As of season 5, he became a series regular on "The Expanse".


title: Fanny Mendelssohn

text: Fanny Mendelssohn (14 November 1805 – 14 May 1847) was a German composer and pianist of the early Romantic era who was also known as Fanny (Cäcilie) Mendelssohn Bartholdy and, after her marriage, Fanny Hensel (as well as Fanny Mendelssohn Hensel). Her compositions include a piano trio, a piano quartet, an orchestral overture, four cantatas, more than 125 pieces for the piano, and over 250 lieder, most of which went unpublished in her lifetime. Although praised for her piano technique, she rarely gave public performances outside her family circle.


title: Fanny Mendelssohn

text: She grew up in Berlin and received a thorough musical education from teachers including her mother, as well as the composers Ludwig Berger and Carl Friedrich Zelter. Her younger brother Felix Mendelssohn, also a composer and pianist, shared the same education and the two developed a close relationship. Due to her family's reservations, and to social conventions of the time about the roles of women, six of her songs were published under her brother's name in his Opus 8 and 9 collections. In 1829, she married artist Wilhelm Hensel and, in 1830, they had their only child, Sebastian Hensel. In 1846, despite the continuing ambivalence of her family towards her musical ambitions, Fanny Hensel published a collection of songs as her Opus 1. She died of a stroke in 1847.


title: Fanny Mendelssohn

text: Since the 1990s her life and works have been the subject of more detailed research. Her "Easter Sonata" was inaccurately credited to her brother in 1970, before new analysis of documents in 2010 corrected the error. The Fanny & Felix Mendelssohn Museum opened on 29 May 2018 in Hamburg, Germany.


title: Fanny Mendelssohn

text: Mendelssohn was born in Hamburg, the oldest of four children, including her brother Felix Mendelssohn born four years after her. She was descended on both sides from distinguished Jewish families; her parents were Abraham Mendelssohn (who was the son of the philosopher Moses Mendelssohn), and Lea, née Salomon, a granddaughter of the entrepreneur Daniel Itzig. She was baptised as a Christian in 1816, becoming Fanny Cäcilie Mendelssohn Bartholdy. Despite this, she and her family continued an affinity with the social and moral values of Judaism. Like her brother Felix, she objected strongly when their father Abraham changed the family surname to "Mendelssohn Bartholdy" with the intention of playing down their Jewish origins: she wrote to Felix of "Bartholdy, that name which we all dislike."


title: Fanny Mendelssohn

text: While growing up in the family's new home in Berlin, Mendelssohn showed prodigious musical ability and began to write music. She received her first piano instruction from her mother, who may have learned the Berlin Bach tradition through the writings of Johann Kirnberger, a student of Johann Sebastian Bach. Thus as a 14 year old, Mendelssohn could already play all 24 preludes from Bach's "The Well-Tempered Clavier" from memory alone, and she did so in honour of her father's birthday in 1819. Beyond inspiration from her mother, Mendelssohn may also have been influenced by the role-models represented by her great-aunts Fanny von Arnstein and Sarah Levy, both lovers of music, the former the patroness of a well-known salon and the latter a skilled keyboard player in her own right.


title: Fanny Mendelssohn

text: After studying briefly with the pianist Marie Bigot in Paris, Mendelssohn and her brother Felix received piano lessons from Ludwig Berger and composition instruction from Carl Friedrich Zelter. At one point, Zelter favoured Fanny over Felix: he wrote to Johann Wolfgang von Goethe in 1816, in a letter introducing Abraham Mendelssohn to the poet, "He has adorable children and his oldest daughter could give you something of Sebastian Bach. This child is really something special." Both Mendelssohn and her brother Felix received instruction in composition from Zelter starting in 1819. In October 1820, they joined the Sing-Akademie zu Berlin, which was then being led by Zelter. Much later, in an 1831 letter to Goethe, Zelter described Fanny's skill as a pianist with the highest praise for a woman at the time: "... she plays like a man." Visitors to the Mendelssohn household in the early 1820s, including Ignaz Moscheles and Sir George Smart, were equally impressed by both siblings.


title: Fanny Mendelssohn

text: The music historian Richard Taruskin suggests that "the life of Fanny Mendelssohn Hensel is compelling proof that women's failure to "compete" with men on the compositional playing-field has been the result of social prejudice and patriarchical mores (which in the nineteenth century granted only men the right to make the decisions in bourgeois households)." Such attitudes were shared by Mendelssohn's father, who was tolerant, rather than supportive, of her activities as a composer. In 1820, he wrote to her, "Music will perhaps become his [i.e. Felix's] profession, while for it can and must be only an ornament". Although Felix was privately broadly supportive of her as a composer and a performer, he was cautious (professedly for family reasons) of her publishing her works under her own name. He wrote:


title: Fanny Mendelssohn

text: From my knowledge of Fanny I should say that she has neither inclination nor vocation for authorship. She is too much all that a woman ought to be for this. She regulates her house, and neither thinks of the public nor of the musical world, nor even of music at all, until her first duties are fulfilled. Publishing would only disturb her in these, and I cannot say that I approve of it.


title: Fanny Mendelssohn

text: The music historian Angela Mace Christian has written that Fanny Mendelssohn "struggled her entire life with the conflicting impulses of authorship versus the social expectations for her high-class status ...; her hesitation was variously a result of her dutiful attitude towards her father, her intense relationship with her brother, and her awareness of contemporary social thought on women in the public sphere." Felix's friend Henry Chorley wrote of Fanny: "Had Madame Hensel been a poor man's daughter, she must have become known to the world by the side of Madame Schumann and Madame Pleyel as a female pianist of the highest class", suggesting that as well as her sex, her social class was limiting for her career.


title: Fanny Mendelssohn

text: The biography of the Mendelssohn family compiled from family documents by Fanny's son Sebastian Hensel has been construed by the musicologist Marian Wilson Kimber as intending to represent Fanny as having no aspirations to perform outside the private sphere. Kimber notes that Fanny's "oft-reported longing for a professional music career is not supported by her ... diaries, which are somewhat surprising for how little they reveal about her musical life."


title: Fanny Mendelssohn

text: The siblings' bond was strengthened by their shared passion for music. Fanny's works were often played alongside her brother's at the family home in Berlin in a Sunday concert series (Sonntagskonzerte), which was originally organized by her father and after 1831 carried on by Fanny herself. In 1822, when Fanny was 17 and Felix 13, she wrote "Up to the present moment I possess his [Felix's] unbounded confidence. I have watched the progress of his talent step by step, and may say I have contributed to his development. I have always been his only musical adviser, and he never writes down a thought before submitting it to my judgment."


title: Fanny Mendelssohn

text: In 1826/1827 Felix arranged with Fanny for some of her songs to be published under his name, three in his Op. 8 collection and three more in his Op. 9. In 1842, this resulted in an embarrassing moment when Queen Victoria, receiving Felix at Buckingham Palace, expressed her intention of singing to the composer her favourite of his songs, "Italien" (to words by Franz Grillparzer), which Felix confessed was by Fanny.


title: Fanny Mendelssohn

text: There was a lifelong musical correspondence between the two. Fanny helped Felix by providing constructive criticism of pieces and projects, which he always considered very carefully. Felix would rework pieces solely based on the suggestions she made, and nicknamed her "Minerva" after the Roman goddess of wisdom. Their correspondence of 1840/41 reveals that they were both outlining scenarios for an opera on the subject of the Nibelungenlied (which never materialized): Fanny wrote "The hunt with Siegfried's death provides a splendid finale to the second act."


title: Fanny Mendelssohn

text: In 1829, after a courtship of several years (they had first met in 1821 when she was 16), Fanny married the artist Wilhelm Hensel, and the following year gave birth to their only child, Sebastian Hensel. She later had at least two miscarriages or stillbirths, in 1832 and 1837.


title: Fanny Mendelssohn

text: In 1830 came her first public notice as a composer, when John Thomson, who had met her in Berlin the previous year, wrote in the London journal "The Harmonicon" in praise of a number of her songs that had been shown to him by Felix. Her public debut at the piano (one of only three known public performances according to Mendelssohn scholar R. Larry Todd) came in 1838, when she played her brother's Piano Concerto No. 1.


title: Fanny Mendelssohn

text: Fanny's support of Felix's music was clearly demonstrated during the 1838 rehearsals in Berlin for her brother's oratorio "St. Paul" at the Singverein, which she attended at the invitation of its conductor, Carl Friedrich Rungenhagen. In a letter to her brother she described attending the rehearsals and "suffering and champing at the bit ... as I heard the whining and [the accompanist's] dirty fingers on the piano ... They started [the passage] 'mache dich auf' at half the right tempo, and then I instinctively called out, 'My God, it must go twice as fast!' The consequence was that Rungenhagen consulted her closely about all details of the rehearsals and performance; this included her firm instructions not to add a tuba to the organ part. "I assured them that they should be ruled by my word, and they'd better do it for God's sake."


title: Fanny Mendelssohn

text: Wilhelm Hensel, like Felix, was supportive of Fanny's composing, but unlike many others of her circle was also in favour of her seeking publication of her works. The music historian Nancy B. Reich has suggested two events which may have increased her confidence. One was her visit to Italy with her husband and Sebastian in 1839–40. This was her first visit to Southern Europe and she felt invigorated and inspired; they also spent time with young French musicians who had won the Prix de Rome (one was the young Charles Gounod) and whose respect for Fanny powered her self-esteem as a musician. The other event was her acquaintance shortly afterwards with the Berlin music enthusiast Robert von Keudell: in her diary she wrote: "Keudell looks at everything new that I write with the greatest interest, and points out to me if there is something to be corrected ... He has always given me the very best counsel."


title: Fanny Mendelssohn

text: In 1846, after an approach by two Berlin publishers and without consulting Felix, she decided to publish a collection of her songs (as her Op. 1), under her married name, "Fanny Hensel geb. [i.e. née] Mendelssohn-Bartholdy". After publication, Felix wrote to her "[I] send you my professional blessing on becoming a member of the craft ... may you have much happiness in giving pleasure to others; may you taste only the sweets and none of the bitterness of authorship; may the public pelt you with roses, and never with sand." (12 August 1846). On 14 August Fanny wrote in her journal "Felix has written, and given me his professional blessing in the kindest manner. I know that he is not quite satisfied in his heart of hearts, but I am glad he has said a kind word to me about it." She also wrote about the publication to her friend Angelica von Woringen: "I can truthfully say that I let it happen more than made it happen, and it is this in particular which cheers me ... If [the publishers] want more from me, it should act as a stimulus to achieve. If the matter comes to an end then, I also won't grieve, for I'm not ambitious."


title: Fanny Mendelssohn

text: Throughout March 1847 Fanny had many meetings with Clara Schumann. At this time Fanny was working on her Piano Trio Op. 11 and Clara had recently completed her own Piano Trio (Op. 17), which she may have intended to dedicate to Fanny.


title: Fanny Mendelssohn

text: On 14 May 1847 Fanny Mendelssohn Hensel died in Berlin of complications from a stroke suffered while rehearsing one of her brother's cantatas, "The First Walpurgis Night". Felix himself died less than six months later from the same cause (which was also responsible for the deaths of both of their parents and their grandfather Moses), but not before completing his String Quartet No. 6 in F minor, written in memory of his sister. Fanny was buried next to her parents in a portion of the Dreifaltigkeit Cemetery in Berlin reserved for Jewish converts to Christianity ("Neuchristen").


title: Fanny Mendelssohn

text: Fanny Mendelssohn composed over 450 pieces of music. Her compositions include a piano trio, a piano quartet, an orchestral overture, four cantatas, over 125 pieces for the piano, and in excess of 250 lieder (art songs). Six of her songs were originally published under Felix's name in his Opus 8 and 9 collections. Her piano works are often in the manner of songs, and many carry the name "Lied für Klavier (Song for Piano)", analogous to Felix's "Lieder ohne Worte (Songs Without Words)". This style of piano music was most successfully developed by Felix, whose first set (Op. 19b) appeared in 1829–30, with a second set (Op. 30) appearing in 1833–34. Fanny's sets of "Lieder für Klavier" were written in the period 1836–1837, at about the same time as Felix's set Op. 38.


title: Fanny Mendelssohn

text: The majority of Fanny Mendelssohn's compositions are limited to lieder and piano pieces as she felt her abilities did not extend to larger, more intricate compositions. She was also undoubtedly hampered by the fact that, unlike her brother, she had never studied or played any string instruments, experience which would have assisted her in writing chamber or orchestral works. After completing her string quartet, she wrote to Felix in 1835, "I lack the ability to sustain ideas properly and give them the needed consistency. Therefore lieder suit me best, in which, if need be, merely a pretty idea without much potential for development can suffice." She was an early example of women composers of a string quartet; she had also earlier written, with the assistance of Zelter, a piano quartet in 1822 (her first large-scale work), and, despite her reservations in her letter to Felix, she wrote in her last year a piano trio (Op. 11). Her "Easter Sonata" written in 1828, was unpublished in her lifetime. It was discovered and attributed to her brother in 1970, before examination of the manuscript and a mention of the work in her diary finally established in 2010 that the work was hers.


title: Fanny Mendelssohn

text: Most of Hensel's work after her marriage was on a small scale, songs and piano pieces. In 1831 for the first birthday of her son Sebastian, she created a cantata, the "Lobgesang (Song of Praise)". Two other works for orchestra, soloists and choir were written in that year, "Hiob (Job") and an oratorio in sixteen sections, "Höret zu, merket auf (Listen and take note)". In 1841 she composed a cycle of piano pieces depicting the months of the year, "Das Jahr" (The Year). The music was written on tinted sheets of paper and illustrated by her husband, with each piece accompanied by a short poem. The writer Kristine Forney has suggested that the poems, artwork and coloured paper may represent the different stages of life, with others suggesting they represent her own life. In a letter from Rome, Fanny described the process behind composing "Das Jahr":I have been composing a good deal lately, and have called my piano pieces after the names of my favourite haunts, partly because they really came into my mind at these spots, partly because our pleasant excursions were in my mind while I was writing them. They will form a delightful souvenir, a kind of second diary. But do not imagine that I give these names when playing them in society, they are for home use entirely.


title: Fanny Mendelssohn

text: Angela Mace, the musicologist who proved Fanny Hensel's authorship of the "Easter Sonata", considers that Fanny was much more experimental with her lieder than Felix, noting that her works have a "harmonic density" that serves to express emotion.


title: Fanny Mendelssohn

text: R. Larry Todd has pointed out that, although there has been much comment about the influence of Felix's music on Fanny (and some comment on that of Fanny on Felix), both were strongly influenced by the later music of Ludwig van Beethoven in terms of form, tonality and fugal counterpoint. This is apparent for example in Fanny's string quartet.


title: Fanny Mendelssohn

text: The musicologist Stephen Rodgers has claimed that the relative lack of analysis of Fanny Hensel's music has left the presence of triple hypermeter in her songs mostly overlooked. He points to this type of meter being used by Mendelssohn to alter the speed of vocals in the song and to reflect emotions through distortion of duple norms. He also points to a lack of tonic harmony as a recurring characteristic of her lieder, identifying it in the lied "Verlust" ("Loss") as a deliberate means to reflect the song's themes of abandonment and failing to find love. Mendelssohn's use of word painting is also acknowledged as a common element of her style, a method of stressing emotion in the song text. She commonly used strophic form for her songs, and her piano accompaniments frequently doubled the voice-line, characteristics also of the music of her teachers Zelter and Berger. Though the foundation created by her teachers would remain, Rodgers suggests that she increasingly turned to through-composed forms as her style developed, as a way to respond to elements of poetic text.


title: Fanny Mendelssohn

text: From the 1980s onwards there has been renewed interest in Mendelssohn and her works. The Fanny & Felix Mendelssohn Museum, which is dedicated to the lives and work of the two siblings, opened on 29 May 2018 in Hamburg, Germany.


title: Fanny Mendelssohn

text: On 14 November 2021, Google commemorated Fanny Hensel's 216th birthday with a Google Doodle in North America, Iceland, Germany, Greece, Ukraine, Israel, Armenia, Australia and New Zealand.


title: Fanny Mendelssohn

text: Six months before his death, Felix attempted to ensure that his sister received the recognition that had been withheld throughout much of her life. He collected many of her works intending to release them to the public through his publisher, Breitkopf & Härtel. In 1850, the publisher began to distribute Fanny Mendelssohn's unreleased works, starting with "Vier Lieder" Op. 8.


title: Fanny Mendelssohn

text: Commencing in the late 1980s, Fanny Mendelssohn's music has become better known, thanks to concert performances and new recordings. Her "Easter Sonata" for piano, formerly attributed to Felix, was premiered in her name by Andrea Lam on 12 September 2012.


title: Fanny Mendelssohn

text: Fanny Mendelssohn published no writings during her lifetime. Selected letters and journal entries were published during the 19th century, notably by Sebastian Hensel in his book on the Mendelssohn family. Her collected letters to Felix, edited by Marcia Citron, were published in 1987.


title: Fanny Mendelssohn

text: During the 19th century Fanny mainly figured as a bystander in biographies and studies of her brother Felix; typically she was a representative of a supposed 'feminizing' influence that sapped his artistry. In the 20th century the conventional narrative switched to presenting Felix as disapproving of his sister's musical activities and seeking to contain them, whilst the 'feminizing' accusation against Fanny evaporated. From the 1980s onwards Fanny Mendelssohn has been the subject of many academic books and articles. Kimber opines that "The tale of Fanny, the 'suppressed' composer, has so readily found a place in the biographies of the siblings because of its resemblance to prevailing models for the life of a 'Great Composer' ... based in Romantic ideology about male artists. ... Hensel fits neatly into a traditional narrative of the suffering artistic genius ... with a modern twist: the feminine gender of its main character. Thus two characters [Felix and Fanny] are forced to bear the weight of two centuries of gender ideology."


title: Fanny Mendelssohn

text: A catalogue of the works of Fanny Mendelssohn Hensel has been prepared by Renate Hellwig-Unruh, according to which each work may be referred to by its "H-U number".


title: Robert Stigwood

text: Robert Colin Stigwood (16 April 1934 – 4 January 2016) was an Australian-born British-resident music entrepreneur, film producer and impresario, best known for managing Cream, Andy Gibb and the Bee Gees, theatrical productions like "Hair" and "Jesus Christ Superstar", and film productions including the successful "Grease" and "Saturday Night Fever". On his death, one obituary judged that he had been for a time the most powerful tycoon in the entertainment industry: "Stigwood owned the record label that issued his artists’ albums and film soundtracks, and he also controlled publishing rights – not since Hollywood's golden days had so much power and wealth been concentrated in the hands of one mogul."


title: Robert Stigwood

text: Stigwood was born in 1934 in Port Pirie, South Australia, the son of Gwendolyn (Burrows) and Gordon Stigwood, an electrical engineer. He was educated at Sacred Heart College in Adelaide.


title: Robert Stigwood

text: He hitchhiked to England in 1955. Amongst various early jobs, he worked at an institution for "backward teenage boys" in East Anglia. He worked briefly for Hector Ross at the New Theatre Royal in Portsmouth, Hampshire, before Ross left and the theatre closed.


title: Robert Stigwood

text: He then met businessman Stephen Komlosy with whom he founded Robert Stigwood Associates Ltd, a small theatrical agency. He signed the actor John Leyton who soon became a teenage heart-throb in 1960 thanks to his appearance in a TV drama based on Biggles. Leyton had ambitions to sing, but was rejected by the major record companies; so Stigwood took him to the producer Joe Meek, who produced the singles "Tell Laura I Love Her" and "Girl on the Floor Above" (October 1960). According to Tony Kent (Meek's personal assistant at the time), although Meek was present at the recording for the latter, Stigwood assumed the role of dominant co-producer. Neither record made much impact, but Leyton's third single, "Johnny Remember Me", produced by Meek and released in the UK on 28 July 1961, became a UK No.1 hit after Stigwood arranged for Leyton to perform it while playing the role of a fictional pop singer called Johnny St. Cyr, performing the song on the new Associated Television drama "Harpers West One". Stigwood and Meek licensed the song to EMI Records, who had previously refused the opportunity to sign Leyton for themselves. This action put the men amongst the first independent record producers in the UK.


title: Robert Stigwood

text: Other artists Stigwood signed to a management/recording deal included Mike Sarne, whose Komlosy-produced "Come Outside" charted Number One in 1962, and another Meek protégé, Mike Berry, who had scored a hit with the Geoff Goddard-penned "Tribute To Buddy Holly".


title: Robert Stigwood

text: One of the first musical acts he managed during this period was Junco Partners, a blues band which succeeded the Animals as the house band at Newcastle's Club A Go Go. The band recorded for Columbia (the EMI label) and the French Barclay Records, with one of its first releases being co-produced by Stigwood and Vicki Wickham. The band included Charlie Harcourt, later of Lindisfarne and Cat Mother and the All Night News Boys.


title: Robert Stigwood

text: Some of the acts he promoted in the mid-60s lost Stigwood money, including UK tours by Chuck Berry and P. J. Proby, and he came close to bankruptcy during this period.


title: Robert Stigwood

text: In 1966 he began managing Cream, formed from two other bands that Stigwood had under contract – Eric Clapton from John Mayall's Bluesbreakers, and Jack Bruce and Ginger Baker from the Graham Bond Organisation. They were stars by 1967, after a U.S. tour with The Who – for whom Stigwood was booking agent at the time. Stigwood moved his recording activities to Polydor Records, negotiating a much more advantageous deal than he had achieved with EMI.


title: Robert Stigwood

text: In 1967, at the suggestion of Beatles manager Brian Epstein, Robert Stigwood merged his agency with Epstein’s company NEMS. Within weeks of joining NEMS he started managing the Bee Gees, a teenage vocal group who, after many years in Australia, had just returned to their native UK with hopes of a British career. Within months their first international single, "New York Mining Disaster 1941", had become a major British and US hit reaching the top 20 in both markets, while "Massachusetts" reached number 1 in the UK and number 11 in the US, launching a string of Bee Gees hits that continued throughout the late 1960s and beyond. When Brian Epstein unexpectedly died in August 1967, Stigwood was seen as a potential successor to the NEMS organisation, but The Beatles refused to work with him. As a result he left NEMS, with a "golden handshake", to form his own Robert Stigwood Organisation, bringing the Bee Gees with him.


title: Robert Stigwood

text: Also during 1967, Stigwood purchased a controlling interest in Associated London Scripts, a writers' agency co-founded by Spike Milligan and Eric Sykes in 1954, in which many of Britain's best comedy and television scriptwriters had been involved. Beryl Vertue from ALS was appointed as deputy chairman. Vertue was responsible for selling the formats to US producers of the TV series "All in the Family" and "Sanford and Son", which were adapted from the popular British TV shows "Till Death Us Do Part" and "Steptoe and Son".


title: Robert Stigwood

text: Stigwood produced the Broadway shows "Hair" and "Oh! Calcutta!" for the West End stage in 1968 and 1970 respectively. In 1971, he produced the first theatrical production of "Jesus Christ Superstar" - initially in the USA - beginning a successful working relationship with Andrew Lloyd Webber and Tim Rice which continued later in the decade with "Evita".


title: Robert Stigwood

text: Stigwood also moved into film and TV production in the early 1970s. By this time both of his major music acts were in the doldrums. The Bee Gees broke up briefly in 1970, and after reuniting they floundered for several years, reaching a self-acknowledged "rock bottom". At this time the former chart toppers were reduced to playing the working men's club circuit in northern England.


title: Robert Stigwood

text: Although Cream had disbanded in late 1968, lead guitarist Eric Clapton remained in a contract with RSO. His next project, the highly-touted super-band Blind Faith, which united Clapton and Ginger Baker with Steve Winwood (ex-Traffic) and Ric Grech (ex-Family) fizzled out after just one LP. In addition, the album he made as Derek & the Dominos, "Layla & Other Assorted Love Songs" (1970), though now recognised as a masterpiece, was met with a relatively poor critical and commercial reception, and was overshadowed by the tragic deaths of close friends Jimi Hendrix and Duane Allman. These tragedies, combined with the angst of his unrequited love for Patti Boyd, sent Clapton into a downward spiral of depression and drug abuse. Clapton eventually kicked his habit, and Stigwood took him back to Miami, where he recorded his successful comeback album "461 Ocean Boulevard" (1974), which included his US #1 hit version of Bob Marley's "I Shot The Sheriff".


title: Robert Stigwood

text: Soon afterwards, Clapton suggested the Bee Gees might also benefit from a change of scene, and so they moved with their band into the same house on Ocean Boulevard to record their album "Main Course". Stigwood urged them to change their sound from the ballads which had made them famous, and they began to move towards the disco sound that would bring them their greatest success, starting with "Jive Talking" - a US "Billboard" #1 hit in 1975. The records were released on Stigwood's own label, RSO Records, which he founded in 1973.


title: Robert Stigwood

text: Stigwood expanded into film production with success. His first feature film was a hit screen adaptation of "Jesus Christ Superstar" (1973), made in association with its director, Norman Jewison. He followed this with the film version of The Who's "Tommy" (1975), which became one of the most successful films at the box office during its year of release. In 1975, RSO collaborated with Bob Banner Associates to produce a stunt game show, "Almost Anything Goes". The program, which aired on the ABC network in the US, featured three teams of players from small towns in a competition where the emphasis was on good will. The show lasted four seasons.


title: Robert Stigwood

text: Stigwood signed actor John Travolta to a million dollar three-picture contract in 1976. Many in the film industry were reportedly skeptical, because Travolta was at that time known as a TV actor; but RSO Films' next production, "Saturday Night Fever", made him a leading movie star. The film had an unlikely source - a supposedly factual magazine article which Stigwood had licensed. The double-LP soundtrack, written by and featuring the Bee Gees, became the biggest selling soundtrack album ever released. Stigwood followed this with a hugely successful film adaptation of the stage rock'n'roll musical "Grease" (1978), which co-starred Travolta and Australian singer Olivia Newton-John. Stigwood insisted that additional songs be added to the soundtrack, including the theme tune penned by Barry Gibb and songs by fellow Australian songwriter-producer John Farrar.


title: Robert Stigwood

text: Not all of Stigwood's films were popular. The third film of his Travolta deal, "Moment by Moment", which co-starred Lily Tomlin, was panned by critics and is credited with turning Travolta into 'box office poison'. Also in 1978, "Sgt. Pepper's Lonely Hearts Club Band", starring the Bee Gees and Peter Frampton, was another critical flop.


title: Robert Stigwood

text: But of the 19 singles to hit the top of the "Billboard" charts in 1978, eight were from RSO. On the US Billboard Hot 100 chart for 25 March 1978, five songs written by the Gibbs were in the US top 10 at the same time: "Night Fever", "Stayin' Alive", "If I Can't Have You", "Emotion" and "Love Is Thicker Than Water". The Bee Gees enjoyed a run of six consecutive number one singles which continued into 1979. RSO records also had success with soundtracks for "Fame" and "The Empire Strikes Back" before Stigwood sold the label to Polygram.


title: Robert Stigwood

text: Stigwood set up Associated R&R Films with Rupert Murdoch in 1980, which produced Peter Weir's well-received "Gallipoli" (1981), but no further films.


title: Robert Stigwood

text: Other notable films produced by Stigwood include "Times Square" (1980); "The Fan" (1981); "Grease 2" (1982); "Staying Alive" (1983); the 1997 Golden Globe Awards' Best Film winner, "Evita", starring Madonna.


title: Robert Stigwood

text: Stigwood remained active during his later years, primarily in musical theatre, taking a role in stage revivals of "Grease" and a theatrical adaptation of "Saturday Night Fever (musical)". In 2005, he sold the Barton Manor estate on the Isle of Wight, which had been his home for many years.


title: Robin Swicord

text: Robin Stender Swicord (born October 23, 1952) is an American screenwriter, film director, and playwright, best known for literary adaptations. Her notable screenplays include "Little Women" (1994), "Matilda" (1996), "Practical Magic" (1998), "Memoirs of a Geisha" (2005), and "The Curious Case of Benjamin Button" (2008); which was nominated for the Academy Award for Best Adapted Screenplay and the Golden Globe Award for Best Screenplay. She wrote and directed the 2007 film "The Jane Austen Book Club."


title: Robin Swicord

text: Swicord is the wife of screenwriter Nicholas Kazan, and the mother of actresses Zoe Kazan and Maya Kazan. She is a member of the Academy of Motion Picture Arts and Sciences' Board of Directors.


title: Robin Swicord

text: Swicord was born in Columbia, South Carolina, the daughter of Jean Carroll Swicord (née Stender) and businessman Henry "Hank" Grady Swicord II. Swicord's father was in the military, so the family moved often and she spent a large part of her childhood in Barcelona, Spain, until eventually settling in Florida. She has a brother, Steven Swicord.


title: Robin Swicord

text: Swicord said she always wrote as a child, and that later as she continued writing in college, became interested in screenplays because they were visual in nature.


title: Robin Swicord

text: She graduated from Florida State University, where she double-majored in English and Theater, with an emphasis on stagecraft. While at Florida State, Swicord worked as a photographer at the school newspaper, "Florida Flambeau."


title: Robin Swicord

text: After college, while still in northwest Florida, Swicord made short films, eventually getting work as an industrial filmmaker in Atlanta, Georgia for IBM. IBM liked her work so much that they recommended Swicord for a job at their advertising agency in New York City where she worked as a copywriter.


title: Robin Swicord

text: With fellow alumni of Florida State University who were starting a theater company, Swicord wrote and helped produce two plays. An agent named Merrily Kane who saw one of the plays asked Swicord if she had considered writing for film. Swicord gave her a script called "Stock Cars for Christ", which was sold to MGM, a job that required that she move to Los Angeles. Although the project was never produced, at MGM she was mentored by Lynn Arost, an MGM development executive who Swicord said gave her the experience and time during which she taught herself the craft of rewriting scripts. Another early mentor was Susan Froemke, an editor who often worked with the Maysles Brothers.


title: Robin Swicord

text: Her directorial debut was the 1993 short film "The Red Coat", for which she also wrote the screenplay. The film was about her grandmother and starred Theresa Wright and Bridget Fonda.


title: Robin Swicord

text: For the 1994 film "Little Women," Swicord conducted intensive research into Louisa May Alcott's personal diaries and family letters in order to recreate the period accurately. For over twelve years, she developed the project with film executive Amy Pascal. The studio wanted Winona Ryder to star, so producer Denise Di Novi, who had a longstanding working relationship with Ryder, joined as a producer. Ryder wanted a female director, which was an additional challenge, as the list of women directors from the studio was short. Gillian Armstrong ("My Brilliant Career"), who was on the list, was hired to direct.


title: Robin Swicord

text: During the process of writing the adaptation of "The Perez Family," Swicord got to know the world of author Christine Bell's Miami.


title: Robin Swicord

text: Swicord worked with her husband, Nicholas Kazan, on the screenplay to "Matilda," adapted from the Roald Dahl book, a children's book the couple loved reading to their daughters. Dahl's daughter, Lucy Dahl, was given script approval.


title: Robin Swicord

text: Swicord wrote the screenplay for Karen Joy Fowler's 2004 novel "The Jane Austen Book Club" and directed the film, which was released in the United States on September 21, 2007. The film was her feature film debut.


title: Robin Swicord

text: For 2005's "Memoirs of a Geisha," Swicord worked collaboratively with director Rob Marshall to adapt Arthur Golden's novel. Although the project had been with other writers and directors, and there were many previous drafts of the script, Swicord said that she and Marshall started from scratch. Swicord was able to use Golden's original research and unedited manuscripts to construct the screenplay, which won a Golden Satellite Award for best adapted screenplay.


title: Robin Swicord

text: For over 10 years, Swicord worked on the screen adaptation of "The Curious Case of Benjamin Button", based on the short story of the same name from F. Scott Fitzgerald's 1922 collection "Tales of the Jazz Age." The project had been in development by producer Ray Stark for 20 years before she began working on the script. Swicord said that the adaptation was so loose that she felt that her work almost became an original screenplay. The script had a very long development period in Hollywood and was attached to many directors, actors, and studios. The eventual director of the film, David Fincher, hired Eric Roth, who rewrote much of Swicord's script.


title: Robin Swicord

text: Swicord has said she was influenced by the work of Billy Wilder and I.A.L. Diamond ("Some Like It Hot," "The Apartment") as well as Ben Hecht ("Scarface," "Nothing Sacred") and Joseph L. Mankiewicz ("All About Eve"). Her contemporary favorites include Eric Roth, Steve Zaillian, and Callie Khouri.


title: Robin Swicord

text: In 1984, Swicord married screenwriter Nicholas Kazan, who is the son of director Elia Kazan. Their daughters are actresses Zoe Kazan and Maya Kazan.


title: Lawmaking procedure in India

text: The laws of India are made by the union government for the whole country and by the state governments for their respective states as the Parliament of India, i.e. the Lok Sabha.


title: Lawmaking procedure in India

text: The process of addition, variation or repeal of any part of the Constitution by the Parliament under its constituent powers, is called amendment of the Constitution. The procedure is laid out in Article 368. An amendment bill must be passed by each House of the Parliament by a majority of the total membership of that House when at least two-thirds of the members are present and voting. In addition to this, certain amendments which pertain to the federal and judicial aspects of the Constitution must be ratified by a majority of state legislatures. There is no provision for joint sitting of the two houses (Lok Sabha and Rajya Sabha) of the Parliament to pass a constitutional amendment bill. The basic structure of the Indian Constitution cannot be altered or destroyed through constitutional amendments under the constituent powers of the Parliament without undergoing judicial review by the Supreme Court. After the 24th Amendment, Parliament in its constituent capacity can not delegate its function of amending the Constitution to another legislature or to itself in its ordinary legislative capacity.


title: Lawmaking procedure in India

text: Proclamation of emergency per shall be ratified by the Parliament similar to its constituent power. When president's rule is invoked in a state using and its proclamation contains such incidental and consequential provisions suspending in whole or in part the operation of any provisions of the Constitution relating to any body or authority in the state for giving effect to the objects of the proclamation, the proclamation needs to be approved by the Parliament under its constituent power (i.e. not by simple majority) after the 24th Amendment


title: Lawmaking procedure in India

text: The legislative power of the states and the centre are defined in the Constitution and these powers are divided into three lists. The subjects that are not mentioned in any of the three lists are known as residuary subjects. Subject to the provisions in the Constitution elsewhere, the power to legislate on residuary subjects, rests with Parliament or state legislative assembly as the case may be per . Deemed amendments to the Constitution which could be passed under legislative powers of Parliament, are no more valid after the addition of Article 368 (1) by 24th Amendment.


title: Lawmaking procedure in India

text: The Union List consists of 100 items (previously 97 items) on which the Parliament has exclusive power to legislate.


title: Lawmaking procedure in India

text: The State List consists of 61 items (previously 66 items) where a state legislative assembly can make laws applicable in that state. But in certain circumstances, the Parliament can also legislate temporarily on subjects mentioned in the State List, when the Rajya Sabha has passed a resolution with two-thirds majority that it is expedient to legislate in the national interest per of the Constitution.


title: Lawmaking procedure in India

text: The Concurrent List consists of 52 (earlier 47) items where both Parliament and a state legislative assembly can make laws in their domains subject to of the Constitution .


title: Lawmaking procedure in India

text: The powers of a ruling party or co-alliance of the union is depending on the extent of the mandate it receives from the elections at central and state levels. These are:


title: Lawmaking procedure in India

text: At the state level, a simple majority in the legislative assembly (Vidhan Sabha) is enough to exercise all its constitutional powers except for deciding to have or abolish the legislative council per . Per , approval of state legislative council, if existing, is also required to permit the Parliament in making laws which are exclusively reserved to state legislative assembly.


title: Lawmaking procedure in India

text: Legislative proposals are brought before either house of the Parliament of India in the form of a bill. A bill is the draft of a legislative proposal, which, when passed by both houses of Parliament and assented to by the President, becomes an act of Parliament. As soon as the bill has been framed, it has to be published in the newspapers and the general public is asked to comment in a democratic manner. The bill may then be amended to incorporate the public opinion in a constructive manner and then may be introduced in the Parliament by ministers or private members. The former are called government bills and the latter, private member's bill. Bills may also be classified as public bills and private bills. A public bill is one referring to a matter applying to the public in general, whereas a private bill relates to a particular person or corporation or institution. The "Orphanages and Charitable Homes Bill" or the "Muslim Waqfs Bills" are examples of private bills. A bill introduced in Lok Sabha pending for any reason lapses when the Lok Sabha is dissolved. However, bills in the Rajya Sabha never lapse, and can remain pending for decades.


title: Lawmaking procedure in India

text: Every bill to be taken up by the Rajya Sabha shall be examined for its constitutional validity by the vice president for not violating the constitutional stipulations/procedures. Vice president should not permit constitutional amendments to be passed under ordinary legislation. of the constitution permits Supreme Court to inquire and decide on constitutional violation committed by the vice president. Any citizen of India who has violated constitution shall not be eligible to continue as a parliament member or eligible to be elected as parliament member. Supreme court can remove the vice president for the electoral malpractices or upon being not eligible to be a Rajya Sabha member under the Representation of the People Act, 1951.


title: Lawmaking procedure in India

text: A bill is the draft of a legislative proposal. It has to pass through various stages before it becomes an act of Parliament. There are three stages through which a bill has to pass in one house of Parliament. The procedure is similar for the legislative assemblies of states.


title: Lawmaking procedure in India

text: The legislative process begins with the introduction of a bill in either house of Parliament, i.e. the Lok Sabha or the Rajya Sabha. A bill can be introduced either by a minister or by a private member. In the former case it is known as a government bill and in the latter case it is known as a private member's bill. It is necessary for a member-in-charge of the bill to ask for the leave of the house to introduce the bill. If leave is granted by the house, the bill is introduced. This stage is known as the first reading of the bill. If the motion for leave to introduce a bill is opposed, the speaker may, in his discretion, allow a brief explanatory statement to be made by the member who opposes the motion and the member-in-charge who moved the motion. Where a motion for leave to introduce a bill is opposed on the ground that the bill initiates legislation outside the legislative competence of the house, the speaker may permit a full discussion thereon. Thereafter, the question is put to the vote of the house. However, the motion for leave to introduce a finance bill or an appropriation bill is forthwith put to the vote of the house. Money/appropriation bills and financial bills can be introduced only in the Lok Sabha per . The Speaker of Lok Sabha decides whether a bill is a money bill or not. The Vice-President of India, who is "ex-officio" Chairman of the Rajya Sabha, decides whether a bill is a money bill or not when the bill is introduced in the Rajya Sabha.


title: Lawmaking procedure in India

text: After a bill has been introduced, it is published in "The Gazette of India". Even before introduction, a bill might, on the permission of the speaker, be published in the "Gazette". In such cases, leave to introduce the bill the house is not asked for and the bill is straight away introduced.


title: Lawmaking procedure in India

text: After a bill has been introduced, the presiding officer of the concerned house (speaker of the Lok Sabha or the chairman of the Rajya Sabha or anyone acting on their behalf) can refer the bill to the concerned standing committee for examination and to prepare a report thereon. If a bill is referred to a standing committee, the committee shall consider the general principles and clauses of the bill referred to them and make a report thereon. The committee can also seek expert opinion or the public opinion of those interested in the measure. After the bill has thus been considered, the committee submits its report to the house. The report of the committee, being of persuasive value, shall be treated as considered advice.


title: Lawmaking procedure in India

text: The first stage consists of general discussion on the bill as a whole when the principle underlying the bill is discussed. At this stage it is open to the house to refer the bill to a select committee of the house or a joint committee of the two houses or to circulate it for the purpose of eliciting opinion thereon or to straight away take it into consideration.


title: Lawmaking procedure in India

text: If a bill is referred to a select or joint committee, the committee considers the bill clause-by-clause just as the house does. Amendments can be moved to the various clauses by members of the committee. The committee can also take evidence of associations, public bodies or experts who are interested in the measure. After the bill has thus been considered, the committee submits its report to the house which considers the bill again as reported by the committee. If a bill is circulated for the purpose of eliciting public opinion thereon, such opinions are obtained through the governments of the states and union territories. Opinions so received are laid on the table of the house and the next motion in regard to the bill must be for its reference to a select/joint committee. It is not ordinarily permissible at this stage to move the motion for consideration of the bill.


title: Lawmaking procedure in India

text: The second stage of the second reading consists of clause-by-clause consideration of the bill as introduced or as reported by select or joint committee. Discussion takes place on each clause of the bill and amendments to clauses can be moved at this stage. Amendments to a clause have been moved but not withdrawn are put to the vote of the house before the relevant clause is disposed of by the house. The amendments become part of the bill if they are accepted by a majority of members present and voting. After the clauses, the schedules if any, clause 1, the enacting formula and the long title of the bill have been adopted by the house, the second reading is deemed to be over.


title: Lawmaking procedure in India

text: Thereafter, the member-in-charge can move that the bill be passed. This stage is known as the third reading of the bill. At this stage the debate is confined to arguments either in support or rejection of the bill without referring to the details thereof further than that are absolutely necessary. Only formal, verbal or consequential amendments are allowed to be moved at this stage. In passing an ordinary bill, a simple majority of members present and voting is necessary. But in the case of a bill to amend the Constitution, a majority of the total membership of the house and a majority of not less than two-thirds of the members present and voting is required in each house of Parliament. If the number of votes in favour and against the bill are tied, then the presiding officer of the concerned house can cast his/her vote, referred to as a casting vote right.


title: Lawmaking procedure in India

text: If at any time during a meeting of a house there is no quorum, which is a minimum of one-tenth of the total strength of a house, it is the duty of the chairman or speaker, or person acting as such, either to adjourn the house or to suspend the meeting until the quorum is met. The bills taken up under legislative power of Parliament are treated as passed provided majority of members present at that time approved the bill either by voting or voice voteIt is also right of a member to demand voting instead of voice vote. In case of passing a constitutional amendment bill, two-thirds of the total members present and voted in favour of the bill with more than half of the total membership of a house present and voting in all, is required according to of the Constitution.


title: Lawmaking procedure in India

text: After the bill is passed by one house of Parliament, it is sent to the other house for concurrence with a message to that effect, and there also it goes through the stages described above, except the introduction stage. If a bill passed by one house is amended by the other house, it is sent back to the originating house for approval. If the originating house does not agree with the amendments, it will be that the two houses have disagreed. The other house may keep a money bill for 14 days and an ordinary bill for six months without passing (or rejecting) it. If it fails to return the bill within the fixed time, the bill is deemed to be passed by both the houses and is sent for the approval of the President.


title: Lawmaking procedure in India

text: At the state level, it is not mandatory that a bill shall be passed by the legislative council (if existing) per . There is no provision of conducting joint session of both houses to pass a bill.


title: Lawmaking procedure in India

text: In case of a deadlock between the two houses or in a case where more than six months lapse in the other house, the President may summon, though is not bound to, a joint session of the two houses which is presided over by the Speaker of the Lok Sabha and the deadlock is resolved by simple majority. To date, only three bills - the "Dowry Prohibition Act" (1961), the "Banking Service Commission Repeal Bill" (1978) and the "Prevention of Terrorist Activities Act" (2002) have been passed at joint sessions.