title: Kenya Air Force

text: The helicopter fleet has been improved thanks to foreign aid. KAF received up to six Royal Jordanian Air Force (RJAF) AH-1Fs in 2017. The Kenyan AH-1 fleet activity remains secretive and it is believed they are probably used to train attack pilots before receiving new MD530F attack helicopters. In 2016 8 Bell Huey II helicopters were approved to be delivered to Kenya Air Force as part of US security cooperation program in sub-Saharan Africa. One of them, UH-1H-II serial KAF-1503, crashed and was written off. The Kenya Air Force 53 Tactical Helicopter Squadron has taken delivery of 6 out of 8 Huey UH-1H helicopters. Meanwhile, the KAF also received 9 AS550C3 helicopters that will be used for security operations as well as combat search and rescue, casualty and medical evacuation. Originally KAF was expected to purchase former UAE AS350Bs, but the new AS550C3s can be armed and may have been also funded by the UAE. By October 2018 photographs had emerged showing the AS550 Fennecs fitted with weapon pylons and unguided rocket pods.


title: Kenya Air Force

text: US government approved in May 2017 the sale of MD530F attack helicopters, they will be used for operations against al-Shabab insurgents and to support the African Union Mission in Somalia (AMISOM). The US government also approved a proposed foreign military sale for twelve Air Tractor AT-802L light-attack aircraft to the government of Kenya. As of August 2017, the Kenyan government has not yet signed a contract for the proposed sale. Also early 2017 Kenya signed contract for 3 C 27j & 3 AW 139 to be delivered this year


title: Kenya Air Force

text: The United Arab Emirates' Global Aerospace Logistics (GAL) signed an agreement in 2019 with the Kenya Air Force to provide maintenance, repair and overhaul (MRO) services for its aircraft.


title: Kenya Air Force

text: The Rapid Deployment Squadron (RDS) is the newest special forces unit among all three branches of the Kenya Defence Forces. It is predominantly tasked with the recovery of downed airmen in hostile territory but it can carry out other specially assigned tasks. The unit was conceived and developed after a downed pilot went missing in action in Southern Somalia. The F5 fighter jet developed mechanical problems and crashed in Al Shabab held territory, while the wreckage was found the pilot remained unaccounted for despite him managing to eject from the aircraft. This led to the need of a tactical quick response unit to respond in such incidences as the search and rescue mission for the downed airman was hampered by the lack of a dedicated response unit.


title: Kenya Air Force

text: This Rapid Deployment Squadron is headquartered at Laikipia Air Base where Kenya's main fighter squadron is also based. The unit also maintains a Forward Operating Base at Wajir Airport in North Eastern Kenya.


title: Sussex County Cricket Club

text: Sussex County Cricket Club is the oldest of eighteen first-class county clubs within the domestic cricket structure of England and Wales. It represents the historic county of Sussex. Its limited overs team is called the Sussex Sharks. The club was founded in 1839 as a successor to the various Sussex county cricket teams, including the old Brighton Cricket Club, which had been representative of the county of Sussex as a whole since the 1720s. The club has always held first-class status. Sussex have competed in the County Championship since the official start of the competition in 1890 and have played in every top-level domestic cricket competition in England.


title: Sussex County Cricket Club

text: The club colours are traditionally blue and white and the shirt sponsors are Galloways Accounting for the LV County Championship and Dafabet for Royal London One-Day Cup matches and Vitality Blast T20 matches. Its home ground is the County Cricket Ground, Hove. Sussex also play matches around the county at Arundel, Eastbourne and Horsham.


title: Sussex County Cricket Club

text: Sussex won its first official County Championship title in 2003 and subsequently became the dominant team of the decade, repeating the success in 2006 and 2007. In 2006 Sussex achieved ‘the double’, beating Lancashire to clinch the C&G Trophy, before winning the County Championship following an emphatic victory against Nottinghamshire at Trent Bridge, in which Sussex defeated their hosts by an innings and 245 runs. Sussex then won the title for the third time in five years in 2007, when in a nail-biting finale on the last day of the season, Sussex defeated Worcestershire early in the day and then had to wait until past five o'clock as title rivals Lancashire narrowly failed to beat Surrey – prompting relieved celebrations at the County Cricket Ground, Hove. Sussex enjoyed further limited overs success with consecutive Pro40 wins in 2008 and 2009 as well as beating Somerset at Edgbaston to lift the 2009 Twenty20 Cup. The south coast county ended the decade having won ten trophies in ten years.


title: Sussex County Cricket Club

text: On 1 November 2015, Sussex County Cricket Club (SCCC) merged with the Sussex Cricket Board (SCB) to form a single governing body for cricket in Sussex, called Sussex Cricket Limited (SCL).


title: Sussex County Cricket Club

text: Sussex, along with Kent, is believed to be the birthplace of cricket. It is believed that cricket was invented by children living on the Weald in Anglo-Saxon or Norman times.


title: Sussex County Cricket Club

text: The first definite mention of cricket in Sussex relates to ecclesiastical court records in 1611 which state that two parishioners of Sidlesham in West Sussex failed to attend church on Easter Sunday because they were playing cricket. They were fined 12d each and made to do penance.


title: Sussex County Cricket Club

text: Cricket became established in Sussex during the 17th century and the earliest village matches took place before the English Civil War. It is believed that the earliest county teams were formed in the aftermath of the Restoration in 1660. In 1697, the earliest "great match" recorded was for 50 guineas apiece between two elevens at a venue in Sussex.


title: Sussex County Cricket Club

text: Matches involving the two great Sussex patrons Charles Lennox, 2nd Duke of Richmond and Sir William Gage, 7th Baronet were first recorded in 1725. The earliest known use of Sussex in a match title occurred in 1729. From 1741, Richmond patronised the famous Slindon Cricket Club, whose team was representative of the county.


title: Sussex County Cricket Club

text: After the death of Richmond in 1751, Sussex cricket declined until the emergence of the Brighton club at its Prince of Wales Ground in 1790. This club sustained cricket in Sussex through the Napoleonic Wars and, as a result, the county team was very strong in the 1820s when it included the great bowlers Jem Broadbridge and William Lillywhite.


title: Sussex County Cricket Club

text: On 17 June 1836, the Sussex Cricket Fund was set up to support county matches, after a meeting in Brighton. This led directly to the formation on 1 March 1839 of Sussex County Cricket Club, England's oldest county club. Sussex CCC played its initial first-class match versus Marylebone Cricket Club (MCC) at Lord's on 10 & 11 June 1839.


title: Sussex County Cricket Club

text: The Sussex crest depicts a mythological, footless bird called the Martlet, and is similar to Coat of arms of Sussex. Capped players have six martlets on their sweaters, and the crest with gold trimming on their caps; uncapped players instead have only the club crest on their left breast, and white trimming on their caps.


title: Sussex County Cricket Club

text: In total, Sussex CCC have played at 17 grounds, four of which have been in Brighton and Hove. The first County match was played at Eaton Road on 6 June 1872 against Gloucestershire.


title: Sussex County Cricket Club

text: Currently, the main venue for the club's First and Second XI is The County Ground in Hove, although matches are also played regularly at the grounds at Arundel and Horsham. Other grounds for first class matches have included Sheffield Park, Chichester, Worthing, Eastbourne and Hastings.


title: Sussex County Cricket Club

text: This list includes those Sussex players who have played in Test cricket since 1877, One Day International cricket since 1971, or have made an outstanding contribution (e.g.: scoring most runs or taking most wickets in a season).


title: Tempo rubato

text: Tempo rubato (, , ; 'free in the presentation', literally ) is a musical term referring to expressive and rhythmic freedom by a slight speeding up and then slowing down of the tempo of a piece at the discretion of the soloist or the conductor. Rubato is an expressive shaping of music that is a part of phrasing.


title: Tempo rubato

text: While rubato is often loosely taken to mean playing with expressive and rhythmic freedom, it was traditionally used specifically in the context of expression as speeding up and then slowing down the tempo. In the past, expressive and free playing (beyond only rubato) was often associated with the terms "ad libitum". Rubato, even when not notated, is often used liberally by musicians, e.g. singers frequently use it intuitively to let the tempo of the melody expressively shift slightly and freely above that of the accompaniment. This intuitive shifting leads to rubato's main effect: making music sound expressive and natural. Nineteenth century composer-pianist Frédéric Chopin is often mentioned in the context of rubato (see Chopin's technique and performance style).


title: Tempo rubato

text: The term "rubato" existed even before the romantic era. In the 18th century, rubato meant expressing rhythm spontaneously, with freedom. In many cases, it was achieved by playing uneven notes. This idea was used, among others, by Ernst Wilhelm Wolf and Carl Philipp Emanuel Bach. In addition to that, Leopold Mozart claimed that the accompaniment should remain strict in tempo.


title: Tempo rubato

text: In the mid 18th century, the meaning of rubato began to change gradually. People were using the term as being able to move notes freely back and forth. Johann Friedrich Agricola interpreted rubato as "stealing the time".


title: Tempo rubato

text: As time moves on to the 19th century, people recognized rubato yet slightly differently. In Chopin's music rubato functioned as a way to make a melody more emotional through changing the tempo by, for instance, "accelerando", "ritenuto" and syncopations. Chopin "often played with the melody subtly lingering or passionately anticipating the beat while the accompaniment stayed at least relatively, if not strictly, in time". In this case, rubato is used as a concept of flexibility of tempo for a more expressive melody.


title: Tempo rubato

text: One can distinguish two types of rubato: in one the tempo of the melody is flexible, while the accompaniment is kept in typical regular pulse (yet not rigidly in mechanical fashion; but adjusting to the melody as necessary—see below). Another type affects melody and accompaniment. While it is often associated with music of the Romantic Period, classical performers frequently use rubato for emotional expressiveness in all kinds of works.


title: Tempo rubato

text: The opinion given by Tom S. Wotton, that "every bar has its proper time value" may be regarded as an inaccurate description: Karl Wilson Gehrkens mentions "duration taken from one measure [...] and given to another" which implies bars of differing duration. Rubato relates to phrasing; and since phrases often go over multiple bars; it is often impossible (and also not desired) for each bar to be identically long.


title: Tempo rubato

text: Early twentieth-century rubato seems to be very eventful. Robert Philip in his book "Early recordings and musical style: Changing tastes in instrumental performance, 1900-1950" specifies three types of rubato used at that time: accelerando and rallentando, tenuto and agogic accents, and melodic rubato.


title: Tempo rubato

text: Late 19th century dictionaries of musical terms defined tempo rubato as "robbed or stolen time." This effect can be achieved by a slight quickening of speed in ascending passages, for instance, and calando on descending phrases. Ignacy Jan Paderewski says that tempo rubato relies on "more or less important slackening or quickening of the time or rate of the movement." Many theoreticians and performers claimed at that time that the "robbed" time must be eventually "paid back" later within the same measure, so that the change of tempo would not affect the length of the measure. However, the balance theory caused controversy, as many theoreticians dismissed the assumption that the "stolen" time should necessarily be "paid back." In the third edition of "Grove's Dictionary" we read: "The rule has been given and repeated indiscriminately that the "robbed" time must be "paid back" within the bar. That is absurd, because the bar line is a notational, not a musical, matter. But there is no necessity to pay back even within the phrase: it is the metaphor that is wrong."


title: Tempo rubato

text: Paderewski also discarded this theory saying: "(...) the value of notes diminished in one period through an "accelerando," cannot always be restored in another through a "ritardando." What is lost is lost."


title: Tempo rubato

text: Some theoreticians, however, rejected even the idea that rubato relies on accelerando and ritardando. They were not recommending that a performance should be strictly metronomic, but they came up with a theory saying that rubato should consist of tenuto and shortened notes.


title: Tempo rubato

text: The first writer who extended the theory of "agogics" was Hugo Riemann in his book "Musikalische Dynamik und Agogik" (1884). The theory was based on the idea of using small changes of rhythm and tempo for expression. Riemann used the term "agogic accent", by which he meant accentuation achieved by lengthening of a note.


title: Tempo rubato

text: The theory found many supporters. J. Alfred Johnstone called the idea of agogic accents "quasi tempo rubato." He also expressed his appreciation for this theory, saying that "modern editors are coming to recognize it as one of the important principles of expressive interpretation." In his illustration of agogic accents in the Mendelssohn's "Andante and Rondo Capriccioso" op. 14, Johnstone explains, that even though the rhythm consists of equal quarter notes, they should not be played the same length; the highest note of the phrase ought to be the longest while other notes shortened proportionally. One of the musicians known for using agogic accents in their playing was the violinist Joseph Joachim.


title: Tempo rubato

text: Some writers compared this type of rubato to declamation in speech. This idea was widely developed by singers. According to Gordon Heller: "If groups of notes happen to occur, which have to be sung to one word, the student must be careful to make the first note very slightly longer – though only very slightly – than the rest of the group. Should a triplet be written by the composer, care must be taken here to make the first note of the three a trifle longer than the rest, and thus give a musicianly rendering of it. To hurry the time in such a pace would spoil the rhythm..."


title: Tempo rubato

text: Both of the theories described above had their opponents and supporters. There was one question, though, that emerged in reference to both. Regardless if a melody is released from strict note values by accelerando and ritardando or agogic accents, should the accompaniment follow the melody or remain strict in time? The latter means that the melody would be either behind or ahead of the accompaniment for a moment. Eventually, in spite of doubts of some, it has become a tradition that the accompaniment did not follow the flexibility of the melody. As Franklin Taylor writes: "It should be observed that any independent accompaniment to a rubato phrase must always keep strict time, and it is, therefore, quite possible that no note of a rubato melody will fall exactly with its corresponding note in the accompaniment, except, perhaps, the first note in the bar."


title: Tempo rubato

text: Robert Philip's further research shows that these three components (accelerando and rallentando, tenuto and agogic accents, and melodic rubato) were most often used together, as each performer could combine all of them and give the melody flexibility in their own specific way.


title: Tempo rubato

text: Frederic Chopin (1810–1849) wrote the term "rubato" in fourteen different works. All of the spots marked rubato in his fourteen compositions have a flowing melody in the right hand and several accompanying notes in the left hand. Thus, Chopin's rubato can be approached with delaying or anticipating those melody notes. According to descriptions of Chopin's playing, he played with the melody slightly delaying or excitedly anticipating the beat while the left-hand accompaniment went on playing in time.


title: Tempo rubato

text: Usually, his usage of the term "rubato" in a score suggested a brief effect. However, when the term "sempre rubato" was marked, it indicated a rubato that continued for about two measures. Interestingly, Chopin never marked "a tempo" following "rubato." This leaves the length of the “momentary effect” up to the interpretation of the performer. Therefore, the performer must understand the purpose of why rubato is indicated from the composer.


title: Tempo rubato

text: There are three purposes why Chopin marks the word "rubato" in his compositions: to articulate a repetition, to emphasize an expressive high point or appoggiatura and to set a particular mood at the beginning of a piece.


title: Tempo rubato

text: The first main purpose for which Chopin marks rubato is to articulate the repetition of a unit of music. For example, the rubato marked in bar 9 in Mazurka Op. 6 No. 1 points out the beginning of the repetition after the first eight-measure unit. Another example of this usage of rubato occurs in the Mazurka Op. 7 No. 3. In this piece, the theme begins at measure 9 and repeats at measure 17, which is where the rubato is marked. From this, the performer is given the cue to approach the repeated material differently the second time it occurs.


title: Tempo rubato

text: Chopin's second main purpose for using rubato is to create an intensely expressive moment such as at the high point of a melodic line or at an appoggiatura. For example, in the Nocturne Op. 9 No. 2, bar 26 has an intensely singing moment where the melody leaps up to an E-flat. However, this E-flat is not the highest point of the phrase. Therefore, Chopin marked "poco rubato" to signify to the player that they can emphasize the intensely expressive moment, but to also hold back for the actual climax occurring one measure later. A second example of rubato used at a singing moment is in his Second Piano Concerto. In a similar situation, the melody leaps up to three A-flat played consecutively and the rubato marked tells the player to perform them in a singing quality.


title: Tempo rubato

text: Chopin primarily marks rubato to emphasize expressive melodic lines or repetition. However, in some cases, he also uses rubato to establish a certain mood at the beginning of a piece. The Nocturne Op. 15 No. 3 is one of the examples of rubato being used for setting up a mood. In the Nocturne Op. 15 No. 3, Chopin marked "Languido e rubato" in the first bar, as a general suggestion of the work's comprehensive way of delivery. The rubato in a languid manner would affect the tempo, tone color, touch, and dynamics, which influence performers to set the mood at the beginning of the piece.


title: Tempo rubato

text: Definitions of musical concepts (such as rubato) cause misinterpretations if they disregard artistic musical expression. The type of rubato in which the accompaniment is kept regular does not require absolute regularity; the accompaniment still gives full regard to the melody (often the singer or soloist) and yields tempo where necessary:


title: Tempo rubato

text: In the music of Chopin, the word "rubato" appears in just 14 of his works. While other composers (such as Schumann and Mahler) are ignored in regards to this issue, we often fail to consider the German terms, like "Zeit lassen", for the same principle. The fact that "rubato" is more an aspect of performance than a compositional device makes us question whether some other terms that could be interpreted as tempo distortions, like "cedéz", "espressivo", "calando", "incalzando", or even Brahms' special "dolce" and "sostenuto", are clear-cut in performance.


title: Tempo rubato

text: Sergei Rachmaninoff is one of the composers who uses the proper term "tempo rubato" in some passages of his orchestral works, such as the buzzy introduction for the 2nd movement of his Symphonic Dances (Rachmaninoff).


title: Tempo rubato

text: Rachmaninoff's rubato re-created the eloquence and sure musical instinct that must have characterised the rubato-practise of Mozart, Beethoven or Chopin.


title: Tempo rubato

text: Stolen Time: The History of Tempo Rubato by Richard Hudson - Lloyd, William. "The Musical Times" 136, no. 1829 (1995): 362. doi:10.2307/1004338.


title: Neocaridina davidi

text: Neocaridina davidi is a freshwater shrimp originating from eastern China and northern Taiwan and introduced in the rest of Taiwan, Japan, and Hawaii, which is commonly kept in aquaria. The natural coloration of the shrimp is green-brown. There are a wide range of colors such as red, yellow, orange, green, blue, violet, black, etc., however, the red morph is more frequently sold. The density of coloration on adult shrimp, dependent on breeding, determines their sale price and "quality" (grading). This "quality" is purely aesthetic, as the size, behavior and other characteristics of the animal are more or less equal across varieties. Full-grown shrimp reach about long. They prefer clean water, with a pH of 6.5-8, and a temperature of They are most comfortable at . "N. davidi" shrimp are omnivores that may live 1–2 years. These shrimp have previously been classified as "Neocaridina heteropoda" and "Neocaridina denticulata sinensis", however are now known as "Neocaridina davidi" which is based on the oldest known published description of the species.


title: Neocaridina davidi

text: "N. davidi" shrimp are easy to care for in the home freshwater aquarium and breed well. They will adapt to a wide range of water conditions and will thrive in the same conditions as many common aquarium fish. Neutral to slightly alkaline pH, with zero ammonia and nitrite as well as low nitrate, gives best results. A cooling system is recommended in warm climates. A few "N. davidi" shrimp can be kept in a desktop aquarium of capacity, and a setup of or more will allow for an active colony. A planted tank is most comfortable for the shrimp and the plants provide cover for adults and young. Plants also provide more surface area to grow biofilm for shrimp to graze on.


title: Neocaridina davidi

text: The shrimp spends a great deal of its time sitting on aquatic plants, when available, and hiding in them for protection, especially after molting. They also eat the film of algae and microorganisms that form on plant leaves without harming the leaves in the process. Java moss and Java fern are both excellent plants for the shrimp tank, as they thrive in the same conditions as the "N. davidi" shrimp and provide both the physical benefits of the plants to the shrimp and aesthetics to human viewers. Young shrimp spend much of their early life hiding among plants and feeding on microorganisms and tank algae. Java moss is common and inexpensive in most places, fast-growing, and provides excellent cover for the young.


title: Neocaridina davidi

text: "N. davidi" shrimp respond to the color of their background and substrate. If they are kept in a tank with light-colored substrate, they will become paler, or even transparent. On a darker substrate, they take on their full coloration. Color intensity also depends on the types of food available (live foods and those high in protein and fats are more beneficial than flake foods), water pH, and temperature. Prepared foods specifically designed for shrimp are available at some suppliers.


title: Neocaridina davidi

text: The "N. davidi" shrimp is a non-aggressive shrimp. They are active throughout the day, and can be seen grazing on biofilm, aquarium décor or the sides of the tank, hunting detritus among the gravel, and sometimes even mating. Periodically, a shrimp will shed its exoskeleton, leaving an empty white ghost of itself caught in the plants or drifting around the tank. This should be left in the tank, as the shrimp will eat it to recover the valuable minerals it contains. There have been some reports by people of some shrimp attacking other vulnerable shrimp and/or fish, possible explanations have been insufficient protein in their diet or just general insufficiency of biofilm in the tank.


title: Neocaridina davidi

text: Pregnant "N. davidi" shrimp tend to hide in the dark. If they feel endangered by predators, they will abandon their eggs. They need an environment with wood or plants such as Java moss in which to hide themselves and their babies. When they are carrying the eggs under their bodies, they can be witnessed circulating water over the eggs with their pleopods (swimming legs) to ensure good health.


title: Neocaridina davidi

text: "N. davidi" shrimp are primarily biofilm eaters. They will eat any food intended for aquarium use with varying preferences, but some will prefer compressed algae discs (algae wafers) or sinking shrimp pellets. Blanched (boiled until soft) vegetables such as zucchini (courgette), baby carrots, peas, and kale can be used as a supplemental food but should be fed sparingly. Uneaten food can quickly decompose and are recommended to be removed after a few hours to prevent potentially deadly ammonia spikes. To keep a clean substrate, some shrimp keepers put a glass bowl or glass plate on the bottom as a container for the food. If feeding commercial fish/shrimp food, ensure that there is no copper added (some breeders avoid only pure/elemental copper ) as this is dangerous for shrimp. Many breeders think copper sulfates, found in most fish food, are tolerated in low amounts. Copper sulfates found in snail killer are in high amounts and will kill shrimp.


title: Neocaridina davidi

text: Some commercial water conditioners remove or neutralize copper, lead, and other metals from tap water in order to make it safe for aquarium life.


title: Neocaridina davidi

text: The best way to keep a healthy balance in a tank with shrimp is to let them eat the biofilm that grows in the tank- including on the glass, on plants, and all over driftwood; this way the tank works in balance along with the beneficial bacteria that grow in a filter. With at least a few hours of lighting to promote growth of biofilm, the shrimp will grow to maturity without any problems.


title: Neocaridina davidi

text: "Neocaridina davidi" have noticeable sexual dimorphism. The male is smaller and usually less colorful than the female. The male's tail, not being needed to carry eggs, is narrower. The female is larger and usually displays a richer, more opaque coloration, however selective breeding can produce males with similar quality of coloration. On the upper section of the female's body, on the "shoulder", the developing eggs on the ovaries may be seen in more transparent individuals. The color of these eggs will depend on the breed of individual shrimp. The shape of the ovaries drapes across both sides of the shrimp, giving rise to the nickname "saddle". The presence of a "saddle" indicates a female that is likely ready to mate.


title: Neocaridina davidi

text: "N. davidi" shrimp reach sexual maturity when they are around 4–6 months old. Breeding only requires a sexed pair of shrimp, stable water parameters, and a food source. Eggs may be observed developing in the female's ovaries as a green or yellow triangular "saddle" marking on her back. When she is ready to lay the eggs, which occurs after molting, she releases pheromones into the water to signal her availability to males. The male shrimp in the tank will often become agitated, swimming very actively about as they search for the source of the pheromones. After a brief mating process, during which the male deposits sperm onto the female's body, the female lays her eggs and affixes them to her swimmerettes. The eggs are not fertilized within the female; they are fertilized as they pass from the ovaries to the outside of the body. Therefore, it is certain that any shrimp carrying eggs has mated. A female carrying eggs under her abdomen is said to be "berried".


title: Neocaridina davidi

text: Some report that young female shrimp carrying their first clutch of eggs tend to drop some or all of the eggs, possibly due to inexperience or small size. If a berried shrimp is stressed by predators or poor water conditions she may also abandon the eggs.


title: Neocaridina davidi

text: They have 20–30 eggs, which take 2–3 weeks to hatch. The eggs are green or yellow, depending on the color of the saddle. They turn darker and darker until the young shrimp hatch after about three weeks. As the eggs near the end stages of growth, tiny dark eye spots of the developing shrimp within can be observed. When the young hatch, they are tiny (~1 mm) copies of the adults. They have no planktonic larval stage. They spend their first few days of life hiding among plants or stones, where they are almost invisible, nibbling on the biofilm on the plants. They then emerge and graze on algae on tank surfaces and ornaments.


title: Neocaridina davidi

text: Female shrimp, under ideal conditions, can breed again within a few days of hatching the previous clutch.


title: Neocaridina davidi

text: In their natural environment, "N. davidi" shrimp are primary prey. When kept in an aquarium, they are easily targeted by fish as potential food. Even fish too small to eat them may harass them and stress them to death, sometimes biting off limbs. For best results, breeding should take place in isolation. Small, non-aggressive fish such as the ember tetras, harlequin rasbora, neon tetra, cardinal tetra, dwarf corydoras, otocinclus catfish, dwarf gouramis though these may predate if aggressive, platy (or peaceful livebearer relatives like the endler’s livebearer or guppy), and some species of killifish can be kept with adult "N. davidi" shrimp. However, baby shrimp are very likely to be eaten by any fish other than the otocinclus. Most cichlids, including angel fish, will harass and readily eat adults as well. These dwarf shrimp will also be consumed by Australian rainbowfish and other large specimens of fish. With enough cover and hiding places (live plants such as Java moss work well), one can have a colony of "N. davidi" shrimp survive in a tank with larger fish preying on them. It is commonly suggested that one lets the shrimp reproduce a few generations/build up numbers before fish are added.


title: Neocaridina davidi

text: The "N. davidi" shrimp has become widely available in North America, Europe, Asia, and Australia. These shrimp can be purchased from online fish stores, at aquarium stores, and from private breeders—especially through local aquarium societies. There are also many similar "Neocaridina" species of different color and markings that require the same conditions, these include fire reds, snowballs, blue pearls, rili shrimp, yellow shrimp, and wild types. Some species will hybridize, while variants within the same species will interbreed. Neocaridina shrimp can have similar colors due to different selective breeding processes. Cross-breeding different variations from different lineages (e.g. blues from the red line with blues from the blue line or brown line) is advised against as most young from such pairings revert to wild coloration. Cross-breeding differently colored shrimp from the same lineage (e.g. blue shrimp from the red line with red and clear shrimp from the red line) will not result in reversions to the wild coloration. Therefore, great care must be taken to establish the lineage of shrimp before crossing variants.


title: Neocaridina davidi

text: "N. davidi" kept in aquariums have a wide range of colors, mainly as a result of selective breeding, but wild Neocaridina davidi have slightly different colors, too. As most of these shrimps are half transparent, the color of Neocaridina davidi nearly always is a result of "blood" ("flesh", muscles etc.) coloration and "skin" (the chitin of the shell) coloration.


title: Neocaridina davidi

text: Some colors may result from a specific mixture of the chromatophores; xanthophores (yellow/orange), erythrophores (red/orange), iridophores (blue), leucophores (white), and melanophores (black/brown).


title: How Sweet It Is (To Be Loved by You)

text: "How Sweet It Is (To Be Loved by You)" is a song recorded by American soul singer Marvin Gaye from his fifth studio album of the same name (1965). It was written in 1964 by the Motown songwriting team of Holland–Dozier–Holland, and produced by Brian Holland and Lamont Dozier. The song title was inspired by one of the actor and comedian Jackie Gleason's signature phrases, "How Sweet It Is!"


title: How Sweet It Is (To Be Loved by You)

text: Produced by Brian Holland and Lamont Dozier, the song was released as a single in September 1964. It peaked at number six on the US "Billboard" Hot 100 chart in January 1965 and at number three on US "Billboard's" R&B Singles chart. Up to that point, it was Gaye's most successful single with record sales exceeding 900,000 copies. The song's personnel includes Marvin Gaye on lead vocals; The Andantes on background vocals; and The Funk Brothers on various instruments, including piano and percussion. Gaye also released a German-language version of the song entitled "Wie Schön Das Ist".


title: How Sweet It Is (To Be Loved by You)

text: "Cash Box" described it as "a medium-paced, rollicking chorus-backed ode about a fella who's on top of the world since he met up with Miss Right." AllMusic critic Jason Ankeny described the song as a "radiant pop confection," noting that it was unusual for Gaye in being a "straightforward love song" that doesn't reflect Gaye's usual demons. Ankeny commented on the soulfulness of the song, and particularly noted the piano riff.


title: How Sweet It Is (To Be Loved by You)

text: James Taylor released his version of "How Sweet It Is (To Be Loved by You)" as the lead single from his album "Gorilla" (1975). Taylor's 1975 single has been the most successful remake of the song to date, hitting number one on the Easy Listening chart and number five on the US "Billboard" Hot 100 chart. In addition to James Taylor on lead vocals and guitar, other personnel include his then-wife Carly Simon on harmony vocals, Danny Kortchmar on guitar, David Sanborn on saxophone, Clarence McDonald on piano, Fender Rhodes electric piano and possibly ARP String Ensemble, Lee Sklar on bass guitar and both Jim Keltner and Russ Kunkel on drums with Kunkel doubling on tambourine. Author Ian Halperin believes that the song was included on "Gorilla" as a tribute to Simon, who was then his wife. It was produced by Lenny Waronker and Russ Titelman. After his success with "How Sweet It Is (To Be Loved by You)," Taylor continued to record R&B hits applying his soft rock approach.


title: How Sweet It Is (To Be Loved by You)

text: "Rolling Stone" critic Bud Scoppa described Taylor's version as "a relaxed rendition" and considered it to be Taylor's way of acknowledging Gaye as a source of inspiration for Taylor's romantic point of view at the time. Music critic Robert Christgau regarded Taylor's version as a "desecration of Marvin Gaye." Taylor biographer Timothy White described it as "music for the park on Sunday." "Cash Box" said that the "orchestration is tastefully executed" and that "vocally Taylor puts an oh so mellow coating to this surefire winner."


title: How Sweet It Is (To Be Loved by You)

text: Taylor's version has been released on many live and compilation albums. These include the compilation albums "Greatest Hits" (1976), "Classic Songs" (1990), "The Best of James Taylor" (2003) and "The Essential James Taylor" (2013). Live versions have been included on "Live" and "Live at the Beacon Theater".


title: How Sweet It Is (To Be Loved by You)

text: In 1966, Junior Walker & the All Stars released the song as a single, which reached number 3 on the R&B Singles chart and No. 18 on the "Billboard" Hot 100 chart. According to Jason Ankeny of AllMusic, this version makes up in grit what it lacks in Gaye's grace, increasing the "celebratory" feel of the song. Ankeny described the version as "a rollicking floor-shaker fueled by his smoldering saxophone." The drums are played by James Graves (1941-1967). The song was also recorded by Michael Bublé & featured regularly in Jerry Garcia Band sets.


title: Jad Saxton

text: Jad Saxton (, born September 27) is an American voice actress and ADR Director who works for Funimation and Sentai Filmworks.


title: Jad Saxton

text: Her name is an acronym of her parents' names, Jimmi and David, and is pronounced "Jayd". She grew up with a good singing voice, which eventually led to her first voice role in "" as Eimi Mori, and her first major voice role was Masako Hara in "Ghost Hunt". She graduated summa cum laude from Texas Wesleyan University with a Bachelor of Arts in Music in 2005.


title: Lok Adalat

text: Lok Adalat is a Statutory Organization under the Legal Services Authorities Act, 1987, and was created as an alternative dispute resolution mechanism used in India to resolve disputes/grievances outside courts. It is a forum where cases pending on panchayat, or at a pre-litigation stage in a court of law, are settled. Under this Act, the award (decision) made by the Lok Adalats is deemed to be a civil court case and is final and binding on all parties. No appeal against such an award lies before any court of law. If the parties are not satisfied with the award of the Lok Adalat (though there is no provision for an appeal against such an award), they are free to initiate litigation by approaching the court of appropriate jurisdiction.


title: Lok Adalat

text: 1987 with a statutory status for using alternative dispute redressal mechanisms. The first Lok Adalats were held in Gujarat in 1982 and in Chennai in 1986.


title: Lok Adalat

text: Section 22 B of The Legal Services Authorities Act 1987 provides for the establishment of Permanent Lok Adalats (PLA) for exercising jurisdiction in respect of one or more public utility services (PUS). Section 22 A of The Legal Services Authorities Act 1987 states what constitutes 'Public Utility Services' for the purpose of Permanent Lok Adalat.


title: Lok Adalat

text: Lok Adalats come under National Legal Services Authority and the respective State Legal Services Authority.


title: Lok Adalat

text: 2. Any dispute that is planned to be filed in Court but did not come up for a hearing. Following Pre-Litigation, cases can also be filed in Lok-Adalat:


title: Lok Adalat

text: However, any legal issue that is not compoundable as per the Indian legal system cannot be taken up in the Lok Adalat.


title: Lok Adalat

text: The Lok Adalat is presided over by Members, who have the role of statutory conciliators only but no judicial role. They can only persuade the parties to come to a settlement. Sometimes counseling sessions are also held between opposing parties.


title: Lok Adalat

text: The main condition of the Lok Adalat is that both parties in dispute agree to settlement and if they are unable to do so, the Permanent Lok Adalat gets jurisdiction to decide the case, provided it is not related to any offense.


title: Lok Adalat

text: No court fee is charged, and if a court matter is referred to the Lok Adalat and is settled subsequently, the court fee originally paid in the court on the complaints/petition is refunded to the parties.


title: Lok Adalat

text: Decisions are binding on the parties and their order is capable of execution through a legal process.


title: Lok Adalat

text: Lok Adalat is effective in the settlement of money claims. Disputes like partition suits, damages, and matrimonial cases can be easily settled before Lok Adalat, as the scope for compromise through an approach of give and take is high. A Lok Adalat can take up civil cases (including marriage and family disputes) and compoundable criminal cases. The decision of a Lok Adalat deciding any case coming before it is deemed as final, and any award or decree issued is enforceable on competing parties. Additionally, the issued order cannot be recalled or reviewed by the court.


title: Lok Adalat

text: Lok Adalat, as per the Supreme Court judgement, is formed to arrive at a compromise or solution between parties in dispute and hence does not have jurisdiction to go into the merits of the complaint.


title: Lok Adalat

text: Lok Adalat or Alternate Dispute Resolution (ADR) system was strengthened by the Government of India in 2021 by introducing the Draft Mediation bill, 2021, which added many provisions for fast and efficient resolution through this system.


title: Lok Adalat

text: The Permanent Lok Adalat (PUS) is a civil court whose main purpose is to summon a person or document. Permanent Lok Adalats are set up at the State Level in India, which in principle follows the Lok Adalat at the National level. The Permanent Lok Adalat is composed of a chairperson (who is a serving or a retired District and Sessions Judge or a Judicial Officer higher in the rank) and two other persons (or members performing judicial duties). It deals with cases relating to public utility services such as transport, postal, or telegraph, and is formed as a pre-dispute platform for making conciliatory efforts between parties. The PLA (PUS) is not bound by the Civil Procedure Code or the Indian Evidence Act of 1872. It has wide powers to devise its own procedures. The decisions of the Permanent Lok Adalats are binding and are not subject to appeal.


title: Lok Adalat

text: The pecuniary jurisdiction of PLA (PUS) is up to Rs. 1 crore, while in cases that have no direct monetary connection, the PLA (PUS) can pass any order within the wider ambit of the Statutory and Constitutional mandate. The court of Permanent Lok Adalat (PUS) has been set up country-wide in Uttar Pradesh, Delhi, Haryana, Kerala, Rajasthan, Punjab, and Andhra Pradesh. Uttar Pradesh has the highest number of functional Permanent Lok Adalat (PUS). It has more than 50 Courts of PLA (PUS) in as many districts. They operate in Kanpur Nagar, Allahabad, Lucknow, Aligarh, Baghpat, Meerut, Ghaziabad, and Gautam Buddha Nagar.


title: Lok Adalat

text: As of 30 September 2015, more than 15.14 lakhs Lok Adalats have been organized in the country since its inception. More than 8.25 core cases have been settled by this mechanism so far.


title: National Palace (Mexico)

text: The National Palace () is the seat of the federal executive in Mexico. Since 2018 it has also served as the official residence for the President of Mexico. It is located on Mexico City's main square, the Plaza de la Constitución ("El Zócalo"). This site has been a palace for the ruling class of Mexico since the Aztec Empire, and much of the current palace's building materials are from the original one that belonged to the 16th-century leader Moctezuma II.


title: National Palace (Mexico)

text: Used and classified as a government building, the National Palace, with its red tezontle facade, fills the entire east side of the Zócalo, measuring over long. It is home to some of the offices of both the Federal Treasury and the National Archives.


title: National Palace (Mexico)

text: The facade is bordered on the north and south by two towers and includes three main doorways, each of which lead to a different part of the building. The southern door leads to the Patio of Honor and presidential offices (no public access). The northern door is known as the Mariana Door, named in honor of Mariano Arista who had it constructed in 1850. The area next to this door used to be the old Court Prison, with courtrooms and torture chambers. It is now occupied by the Finance Ministry. It contains the Treasury Room, constructed by architects Manuel Ortiz Monasterio and Vicente Mendiola. The iron and bronze door is the work of Augusto Petriccioli.


title: National Palace (Mexico)

text: Above the central doorway, facing the Zócalo, is the main balcony where just before 11pm on September 15, the president of Mexico gives the Grito de Dolores, in a ceremony to commemorate Mexican Independence. Part of this ceremony includes ringing the bell that hangs above the balcony. This bell is the original one that Father Miguel Hidalgo rang to call for rebellion against Spain. It originally hung in the church of Dolores Hidalgo, Guanajuato, but was relocated here. In the niche containing the bell, there is the Mexican coat of arms. On each side there is an Aztec eagle knight and his Spanish counterpart. These were sculpted by Manuel Centurion and symbolize the synthesis of Mexican culture and Spanish culture.


title: National Palace (Mexico)

text: The central door leads to the main patio which is surrounded by Baroque arches. Only the balustrade of this area has been remodeled, conserving the murals by Diego Rivera that adorn the main stairwell and the walls of the second floor. In the stairwell is a mural depicting the history of Mexico from 1521 to 1930, and covers an area of 450 m (4800 ft). These murals were painted between 1929 and 1935, jointly titled "The Epic of the Mexican People". The work is divided like a triptych with each being somewhat autonomous. The right-hand wall contains murals depicting pre-Hispanic Mexico and centers around the life of the Aztec god Quetzalcóatl. Quetzalcóatl appears in the mural as a star, a god, and a human being. Created by serpents, he sails through space as a star that accompanies the sun at night. Quetzalcóatl then assumes a human body to teach the Aztec people as their king and patriarch. Last, when he sacrifices his blood to give life to men, he returns to the sky having completed his earthly cycle. Once he leaves the earth, Quetzalcóatl assumes the shape the morning star, called Tlahuizcalpantecuhtli. The cycle that he undergoes signifies the continuous cycle of life. Rivera's creation of a Mexican identity helps to continue the reform that began with the Mexican Revolution of 1910. Before this time, any individualism from the Indians was discouraged as well as any allusion toward Aztec origins. The mural aims to dismiss any idea of inferiority.


title: National Palace (Mexico)

text: In the middle and largest panel, the Conquest is depicted with its ugliness, such as rape and torture, as well as priests defending the rights of the indigenous people. The battle for independence occupies the uppermost part of this panel in the arch. The American and French invasions are represented below this, as well as the Reform period and the Revolution. The left-hand panel is dedicated to early and mid-20th century, criticizing the status quo and depicting a Marxist kind of utopia, featuring the persons of Plutarco Elías Calles, John D. Rockefeller, Harry Sinclair, William Durant, J.P. Morgan, Cornelius Vanderbilt and Andrew Mellon as well as Karl Marx. This part of the mural also includes Frida Kahlo, Diego's wife. This mural reflects Diego's own personal views about Mexico's history and the indigenous people of the country in particular.


title: National Palace (Mexico)

text: Diego also painted 11 panels on the middle floor, such as the "Tianguis of Tlatelolco" (tianguis means "market"), and the "Arrival of Hernán Cortés in Veracruz". These are part of a series depicting the pre-Hispanic era. Peoples such as the Tarascos of Michoacán, the Zapotecs and Mixtecs of Oaxaca and the Huastecs of Hidalgo, San Luis Potosí and Veracruz. However, this series was not finished.


title: National Palace (Mexico)

text: On the upper floor is what once was the Theatre Room of the viceroys, which became the Chamber of Deputies from 1829 to August 22, 1872, when the room was accidentally destroyed by fire. In this parliamentary chamber the Reform Constitution of 1857 was written. This and the Constitution of 1917 are on display.


title: National Palace (Mexico)

text: The Palace has fourteen courtyards but only a few of these, such as the Grand Courtyard beyond the central portal, are open to the public. The National Palace also houses the main State Archives, with many historical documents, and the Biblioteca Miguel Lerdo de Tejada, one of the largest and most important libraries in the country.


title: National Palace (Mexico)

text: On north annex of the building is the Treasury Room and the Benito Juárez Museum. Between the two is the Empress Stairway, built by brothers Juan and Ramón Agea. When faced with claims that their work was unstable and would collapse, they had a full battalion charge down them while they stood underneath. The Treasury Room is no longer in use. Leading to the Museum part of the complex, which used to be the Finance Ministry, is a statue of Benito Juárez by Miguel Noreña. This work was criticized at the time because it was felt that such an honored person should not be depicted sitting on his coattails, as it was contrary to social etiquette at the time. In the Finance Ministry patio is the Benito Juárez Room, where this president lived during the end of his term and where he died on July 18, 1872. The bedroom, living room and study have been preserved complete with a number of objects belonging to the president.


title: National Palace (Mexico)

text: The site and much of the building material of the current building is of what were called Moctezuma II's "New Houses". This palace functioned as the Aztec tlatoani's residence and performed a number of official functions as well. The building was divided into two sections and decorated with marble and painted stucco. The main façade contained the shield of the monarchy, an eagle with a snake in its claws. It has three patios surrounded by porticos, indoor sanitary facilities, fountains and gardens. The bedrooms had tapestries of cotton, feathers and rabbit fur painted in bright colors. The floors were of polished stucco and covered in animal furs and finely-woven mats. There were rooms for servants, administrative staff, and military guards, along with kitchens, pantries and storage rooms. The richness of the palace surprised Cortés, which he relayed in letters to Charles I of Spain.


title: National Palace (Mexico)

text: The palace also held a chamber reserved for the "tlacxitlan" where a group of elders, presided over by the emperor himself, would settle disputes among the citizenry. After the Conquest, these New Houses were not completely leveled to the ground but were sufficiently destroyed as to make them uninhabitable.


title: National Palace (Mexico)

text: The land and the buildings on it were claimed by Hernán Cortés, who had architects Rodrigo de Pontocillos and Juan Rodríguez rebuild the palace while Cortés lived in the "Old Houses" (now the Nacional Monte de Piedad building) across the plaza from 1521 to 1530.


title: National Palace (Mexico)

text: Cortés's palace was a massive fortress with embrasures for cannon at the corners and the mezzanine had crenels for musketeers. The façade had only two doors with arches (medio punto). Inside there were two patios, with a third being built after 1554 and a fourth sometime after that. Its garden was extensive, occupying much of the south and southwest portions of the property up to what is now Correo Mayor Street. The palace has living quarters, offices, two audience rooms, and a tower for gunpowder. A secondary building behind the main one has nineteen windows spanning its façade. It also had a parapet, above which was a clock and a bell. The main courtyard was built large enough so he could entertain visitors with New Spain's first recorded bullfights.


title: National Palace (Mexico)

text: The Spanish crown bought the palace from the Cortés family in 1562 to house the Viceregal Palace. It remained so until Mexican Independence in the 1820s.


title: National Palace (Mexico)

text: In 1562, the Spanish Crown bought the palace and land from Martin Cortés, son of Hernán Cortés, retaining much of the Cortés palace features. It was known as the "Palacio del Virrey" (Palace of the Viceroy) or "Casa Real de los Virreyes ("Royal House of the Viceroys).


title: National Palace (Mexico)

text: Italian Capuchin friar Ilarione da Bergamo included a description of the viceregal palace in his travel narrative. He notes that the building is not just the residence of the viceroy and his family, but also has a number of government offices including the high court (Real Audiencia) and other legal offices, royal treasury agents, attorneys including those of the General Indian Court, as well as small prisons in the complex. During the tenure of viceroy Bernardo Gálvez, he sought a residence separate from the palace and plans for Chapultepec Castle were drawn up in 1785, to be constructed on a high point outside the core of the city.


title: National Palace (Mexico)

text: The palace was the site of viceregal power and centrally located so that when there were outbreaks of violence toward the regime, the palace was a target. Due to tensions between the viceroy and the archbishop, the palace was set on fire by supporters of the archbishop in 1624. On 8 June 1692, the palace was almost completely destroyed. Viceroy Gaspar de Sandoval then had Friar Diego Valverde reconstruct the palace. Historian Manuel Rivera Cambas states that after reconstruction, the palace lost its fortress-like appearance, and took on a Baroque appearance. Its crenels were converted into windows with ironwork grilles. framed in stonework. Inscriptions were etched above these windows and coats-of-arms were places to the sides. A smaller, third door was added on the north side of the building. On the inner, secondary building, tall windows with small ironwork balconies were installed. The south door led to what was named the "Patio of Honor"; in this section were the viceroy's quarters. The mezzanine held the offices of the Secretary and the Archives of the Viceroyalty. The lower part has servants' and halberdiers' quarters as well as storage bins for mercury. This Patio of Honor opened in back toward a garden for the use of the viceroy and his court. The north door led to a small patio in which was located the jail and the guards' quarters. When the Royal Botanical Expedition to New Spain was at work in Mexico (1787-1803), the establishment of the Royal Botanical Garden on the model of that in the imperial capital of Madrid was an essential mandate of the enterprise. The viceregal palace itself became a site of the botanical garden, with excavations of the original site done so that fertile soil could be substituted. The palace essentially remained unchanged until after independence in the 1830s.


title: National Palace (Mexico)

text: Many of Mexico's leaders after independence made changes to the Viceroy Palace, including renaming it the "National Palace". Mexico's first ministries were installed such as the Ministry of Hacienda (internal revenue), Ministry of War, Ministry of Justice, and the Ministry of Internal and External Relations, as well as the Supreme Court. During an uprising led by Valentín Gómez Farías against then-president Anastasio Bustamante, the southwest balustrade was seriously damaged during a siege lasting twelve days. In 1845, the old Chambers of Deputies was constructed, with the Senate on the upper floor of the south wing. In 1850, Mariano Arista had the old north prison door cemented shut and constructed the current northern door. He also converted the north wing into barracks of the "Batallón de Guardia de Supremos Poderes" (Battalion of Guards for the Supreme Powers). In 1864, Maximilian of Habsburg had three flagpoles installed in front of the three main doors. By the central door was the Mexican flag; at the north door was the flag of Austria and at the south door was the flag of France. He also had Lorenzo de la Hidalga construct the grand marble staircase that is in the Patio of Honor in the southern wing, as well as having the public rooms roofed and furnished with paintings, candelabras, and chamber pots from Hollenbach, Austria and Sirres, France. In opposition, Benito Juárez chose to have his quarters in the north end of the Palace, rather than in the traditional southern end.


title: National Palace (Mexico)

text: In 1877, the Secretaría de Hacienda y Credito Público (Secretary of Internal Revenue and Public Credit), José Ives Limantour, as part of his overhaul of the department, moved their offices to the north wing, finishing in 1902. He chose the largest room in the wing for the Office of Seals. In 1896, the bell that Father Hidalgo rung at the parish of Dolores, Guanajuato was moved here.


title: National Palace (Mexico)

text: A number of changes were made during the rule of Porfirio Díaz. The English-made clock on the parapet was moved to the tower of the Church of Santo Domingo. The façade was cemented over and etched to look like stone block. Cloth awnings were placed on the windows of the upper floors. On pedestals near the main door, statues of female forms were placed. Inside, the ambassador's room, the dining room, the kitchens, the lounge, the garages and the stables were all refurnished. This was done at a time when French style was popular in Mexico.


title: National Palace (Mexico)

text: Between 1926 and 1929, the third floor was added during the term of President Plutarco Elías Calles by Alberto J. Pani, an engineer and then finance minister and designed by Augusto Petriccioli. Merlons were placed on the towers and parapet and decorative caps were placed on all three doors. The Dolores Bell was placed in a niche flanked by atlantes above the balcony above the central door. The façade was covered with red tezontle stone and installed stone frames on the doors, windows, cornices, and parapets. In the interior, a grand staircase of marble was installed in the central patio (where Diego Rivera would later paint The History of Mexico mural) and constructed stairs to the internal revenue department and the offices of the General Treasury in the north wing. The old Chamber of Deputies, abandoned after a fire in 1872, was reconstructed and re-inaugurated as a museum to the centennial. A statue of Benito Juárez was placed in the north wing near his old quarters. This statue was made with bronze from the cannons of the Conservative Army during the Reform War and from French projectiles from the Battle of Puebla. This caused the Palace to lose its Baroque (and French) appearance and give it the appearance it has today.


title: National Palace (Mexico)

text: All the viceroys that ruled New Spain during the colonial period lived in this residence except for Antonio de Mendoza and Juan O’Donojú, the first and last viceroys. After independence, the palace was home to the two emperors who ruled Mexico during brief periods: Agustin de Iturbide and Maximilian I of Mexico. The first president to live in the building was also Mexico's first president, Guadalupe Victoria, and its last occupant in the 19th century was Manuel González, president from 1880 to 1884. After that, the presidential residence was moved to Chapultepec Castle and later, in 1934, to Los Pinos, but the National Palace became the official residence once again with Andrés Manuel López Obrador, president since 2018. Famous people who stayed here include Sor Juana Inés de la Cruz, Mateo Alemán, Friar Servando de Mier (he also died here), Alexander von Humboldt and Simón Bolívar.


title: National Palace (Mexico)

text: On November 8, 2014, alleged anarchists intentionally damaged the palace facade and windows with graffiti and by breaking windows, and burned down a section of the Mariana Door after a failed attempt at breaking it down. The National Institute of History and Anthropology (INAH) handled the restoration and presented charges for the damage.


title: National Palace (Mexico)

text: Because of work related to the construction of Metro Line 2 and the acceleration of the sinking of many of the buildings in the historic center, the basic structure of the Palace suffered deterioration, requiring work to secure the building's foundation and supports, especially on the third floor, the central patio and the Patio of Honor. During this work, the old column bases of the Viceroy Palace were found, two of which were restored where they were found. They also found old cedar rafters with their brackets, which were used to form the foundation of the first floor.


title: National Palace (Mexico)

text: Recently, excavations in and next to the National Palace have unearthed parts of Moctezuma's "New Houses", the name of the palaces that Hernán Cortés razed to build what has become the current edifice. Parts of a wall and a basalt floor were found during recent renovations on the building that now houses the Museum of Culture, which adjoins the Palace on its north side. The wall and floor are believed to be part of Casa Denegrida, or the Black House, which Spanish conquerors described as a windowless room painted in black. In here, Moctezuma would meditate on what he was told by professional seers and shamans. It was part of a construction which is thought to have consisted of five interconnected buildings containing the emperor's office, chambers for children and several wives and even a zoo. More excavations are planned.


title: National Palace (Mexico)

text: On the webpage of past president Ernesto Zedillo, Carlos Fuentes calls the National Palace a "traveling and an immobile construction". Traveling is used in the sense that much of its architectural style is Spanish in origin and symbolized the transplanting of Spanish civilization to the New World. It is immobile in the sense that since Aztec times, this has been the seat of earthly political power, first as the palaces of the Aztec tlatoani, then of the Spanish viceroys, then of Mexican heads of state. Only until very recently, those who held power over Mexico lived here as well as asserted their authority.


title: National Palace (Mexico)

text: The building itself represents the Mexican people as a blending of both Spanish and Aztec. The old palace was destroyed to make way for the new, but both were built of the very same stone. According to Zedillo, this represents something that is not quite Aztec, but not quite Spanish either, much like the country itself. These same stones were present during all of Mexico's major historical events and had seen foreign flags fly above them.


title: National Palace (Mexico)

text: On the eve of Mexican Independence Day, the National Palace is the star of the show. The original bell Father Hidalgo rang is here and the President himself gives the Grito de Dolores from its main balcony. He also notes one such Independence Eve, in 1964, when General Charles de Gaulle, then-President of France, spoke to the crowd in Spanish from the Palace. He notes this to assert that the Palace is not only a place but also a destination where friends of the country can be welcomed.


title: Lakshmi Vilas Palace, Vadodara

text: The Lakshmi Vilas Palace in Vadodara, Gujarat, India, was constructed by the Gaekwad family, a prominent Maratha family, who ruled the Baroda State. Major Charles Mant was credited to be the main architect of the palace.


title: Lakshmi Vilas Palace, Vadodara

text: Lakshmi Vilas Palace was styled on the Indo-Saracenic Revival architecture, built by Maharaja Sayajirao Gaekwad III in 1890 at a cost of £180,000 (₹27,00,000).


title: Lakshmi Vilas Palace, Vadodara

text: It is reputed to have been the largest private dwelling built until that time, and four times the size of Buckingham Palace. At the time of construction, it boasted the most modern amenities such as elevators and the interior is reminiscent of a large European country house. It remains the residence of the royal family, who continue to be held in high esteem by the residents of Baroda.


title: Lakshmi Vilas Palace, Vadodara

text: The Palace compound is of over 500 acres and houses a number of buildings, particularly the LVP Banquets & Conventions, Moti Bagh Palace and the Maharaja Fateh Singh Museum building.


title: Lakshmi Vilas Palace, Vadodara

text: In the 1930s Maharaja Pratapsinh created a golf course for use by his European guests. In the 1990s, Pratapsinh's grandson Samarjitsinh, a former Ranji trophy cricket player, renovated the course and opened it to the public.


title: National Recovery Administration

text: The National Recovery Administration (NRA) was a prime agency established by U.S. president Franklin D. Roosevelt (FDR) in 1933. The goal of the administration was to eliminate "cut throat competition" by bringing industry, labor, and government together to create codes of "fair practices" and set prices. The NRA was created by the National Industrial Recovery Act (NIRA) and allowed industries to get together and write "codes of fair competition". The codes intended both to help workers set minimum wages and maximum weekly hours, as well as minimum prices at which products could be sold. The NRA also had a two-year renewal charter and was set to expire in June 1935 if not renewed.


title: National Recovery Administration

text: The NRA, symbolized by the Blue Eagle, was popular with workers. Businesses that supported the NRA put the symbol in their shop windows and on their packages, though they did not always go along with the regulations entailed. Though membership of the NRA was voluntary, businesses that did not display the eagle were very often boycotted, making it seem mandatory for survival to many.


title: National Recovery Administration

text: In 1935, the U.S. Supreme Court unanimously declared that the NRA law was unconstitutional, ruling that it infringed the separation of powers under the United States Constitution. The NRA quickly stopped operations, but many of its labor provisions reappeared in the National Labor Relations Act (Wagner Act), passed later the same year. The long-term result was a surge in the growth and power of unions, which became a core of the New Deal Coalition that dominated national politics for the next three decades.


title: National Recovery Administration

text: As part of the "First New Deal", the NRA was based on the premise that the Great Depression was caused by market instability and that government intervention was necessary to balance the interests of farmers, business and labor. The NIRA, which created the NRA, declared that codes of fair competition should be developed through public hearings, and gave the Administration the power to develop voluntary agreements with industries regarding work hours, pay rates, and price fixing. The NRA was put into operation by an executive order, signed the same day as the passage of the NIRA.


title: National Recovery Administration

text: New Dealers who were part of the administration of President Franklin D. Roosevelt saw the close analogy with the earlier crisis handling the economics of World War I. They brought ideas and experience from the government controls and spending of 1917–18.


title: National Recovery Administration

text: In his June 13, 1933 "Statement on the National Industrial Recovery Act", President Roosevelt described the spirit of the NRA: "On this idea, the first part of the NIRA proposes to our industry a great spontaneous cooperation to put millions of men back in their regular jobs this summer." He further stated, "But if all employers in each trade now band themselves faithfully in these modern guilds—without exception—and agree to act together and at once, none will be hurt and millions of workers, so long deprived of the right to earn their bread in the sweat of their labor, can raise their heads again. The challenge of this law is whether we can sink selfish interest and present a solid front against a common peril."


title: National Recovery Administration

text: The first director of the NRA was Hugh S. Johnson, a retired United States Army general who had been in charge of supervising the wartime economy in 1917–1918. He was named "Time" magazine's "Man of the Year" in 1933. Johnson saw the NRA as a national crusade designed to restore employment and regenerate industry.


title: National Recovery Administration

text: Johnson called on every business establishment in the nation to accept a stopgap "blanket code": a minimum wage of between 20 and 45 cents per hour, a maximum workweek of 35 to 45 hours, and the abolition of child labor. Johnson and Roosevelt contended that the "blanket code" would raise consumer purchasing power and increase employment.


title: National Recovery Administration

text: At this moment in time from the early days of the New Deal, it is difficult to recapture, even in imagination, the heady enthusiasm among a goodly number of intellectuals for a government planned economy. So far as can now be told, they believed that a bright new day was dawning, that national planning would result in an organically integrated economy in which everyone would joyfully work for the common good, and that American society would be freed at last from those antagonisms arising, as General Hugh Johnson put it, from "the murderous doctrine of savage and wolfish individualism, looking to dog-eat-dog and devil take the hindmost.


title: National Recovery Administration

text: The negotiations of a code for the bituminous coal industry came against the background of a rapidly swelling union, the United Mine Workers headed by John L. Lewis and an unstable truce in the Pennsylvania coal fields. The NRA tried to get the principals to compromise with a national code for a decentralized industry in which many companies were anti-union, sought to keep wage differentials, and tried to escape the collective bargaining provisions of section 7A. Agreement among the parties was finally reached only after the NRA threatened that it would impose a code. The code did not establish price stabilization, nor did it resolve questions of industrial self-government versus governmental supervision or of centralization versus local autonomy, but it made dramatic changes in abolishing child labor, eliminating the compulsory scrip wages and company store, and establishing fair trade practices. It paved the way for an important wage settlement.


title: National Recovery Administration

text: In early 1935 the new chairman, Samuel Clay Williams, announced that the NRA would stop setting prices, but businessmen complained. Chairman Williams told them plainly that, unless they could prove it would damage business, NRA was going to put an end to price control. Williams said, "Greater productivity and employment would result if greater price flexibility were attained." Of the 2,000 businessmen on hand probably 90% opposed Mr. Williams' aim, reported "Time" magazine: "To them a guaranteed price for their products looks like a royal road to profits. A fixed price above cost has proved a lifesaver to more than one inefficient producer." However, it was also argued NRA's price control method promoted monopolies.


title: National Recovery Administration

text: Maximum hours and minimum wage provisions, useful and necessary as they are in themselves, do not prevent price demoralization. While putting the units of an industry on a fair competitive level insofar as labor costs are concerned, they do not prevent destructive price cutting in the sale of commodities produced, any more than a fixed price of material or other element of cost would prevent it. Destructive competition at the expense of employees is lessened, but it is left in full swing against the employer himself and the economic soundness of his enterprise...But if the partnership of industry with Government which was invoked by the President were terminated (as we believe it will not be), then the spirit of cooperation, which is one of the best fruits of the NRA equipment, could not survive.


title: National Recovery Administration

text: The Blue Eagle was a symbol used in the United States by companies to show compliance with and support of the National Industrial Recovery Act. To mobilize political support for the NRA, Johnson launched the "NRA Blue Eagle" publicity campaign to boost his bargaining strength to negotiate the codes with business and labor. Businesses were entitled to display the logo only if they abided by the labor standards mandated by the NIRA, including increased hourly wages and maximum work hours. President Roosevelt's goal was for consumers to only shop at stores that displayed the Blue Eagle, and to avoid stores that did not. In doing this, Roosevelt hoped that those stores which did not comply with the policies of the NRA would change their stance, or they would risk experiencing "economic death" as a result.


title: National Recovery Administration

text: Many sources credit advertising art director Charles T. Coiner with the design. When the NRA was looking for someone to design its symbol, a governmental contract with Philadelphia advertising agency N.W. Ayer led them to Coiner, who had gotten a job with Ayer in 1924, 9 years before the creation of the NRA. According to a few sources, however, it was sketched by Johnson, based on an idea used by the War Industries Board during World War I. The eagle holds a gear, symbolizing industry, in its right talon, and bolts of lightning in its left talon, symbolizing power. The NRA's slogan, "We Do Our Part", often appeared below the eagle, encouraging consumers to feel part of a collective effort.


title: National Recovery Administration

text: All companies that accepted President Franklin D. Roosevelt's Re-employment Agreement or a special Code of Fair Competition were permitted to display a poster showing the Blue Eagle together with the announcement, "NRA Member. We Do Our Part." In addition, manufacturers began affixing the logo to product packaging and other advertising, with the Blue Eagle appearing on clothing labels, food packages, cigar labels, fruit crates, sheet music, shaving razors, and typewriter ribbons. When the Blue Eagle was first introduced, it arrived with a flurry of hope for businesses and individuals struggling as a result of the Great Depression. Shortly after the rules of the NRA were established, more than 10,000 businesses applied for the right to display the Blue Eagle in their store windows, by pledging their support to the program. Johnson decided to put together a Blue Eagle drive to gain support for the movement; while it worked initially, support dwindled as time went on. What started as mass support of the NRA and the Blue Eagle symbol that accompanied it turned into resentment and disapproval, especially from the businesses that were boycotted because they refused to display the symbol in their front windows.


title: National Recovery Administration

text: In addition to businesses displaying posters in storefront windows, in advertising, and in packaging and labels, American consumers and businesses used the Blue Eagle in a variety of other ways. Citizen consumers stitched the logo onto doilies, tapestries, and quilts to show their allegiance to the program. Grassroots quilt makers designed, constructed, and displayed quilts bearing the symbol, not following one pattern source, but creating their own. Some of these quilt makers sent their Blue Eagle quilts as gifts to the Roosevelts. Like any other art, there is more meaning behind these quilts than being simply quilts; the NRA and Blue Eagle were a big enough impact for artists to incorporate it into their work. Other items that used the Blue Eagle symbol include buttons, picture frames, candy boxes and tape packaging. The most famous use of the Blue Eagle is perhaps as an NFL team name, when the franchise from Philadelphia named their team the Eagles. Bert Bell and Lud Wray purchased the team in 1933 and changed the name of the team in honor of the NRA.


title: National Recovery Administration

text: The National Recovery Review Board, headed by noted criminal lawyer Clarence Darrow, a prominent liberal, was set up by President Roosevelt in March 1934 and abolished by him that same June. The board issued three reports highly critical of the NRA from the perspective of small business, charging the NRA with fostering cartels. The Darrow board, influenced by Justice Louis D. Brandeis, wanted instead to promote competitive capitalism.


title: National Recovery Administration

text: Representing big business, the American Liberty League, 1934–40, was run by leading industrialists who opposed the liberalism of the New Deal. Regarding the controversial NRA, the League was ambivalent. Jouett Shouse, the League president, commented that "the NRA has indulged in unwarranted excesses of attempted regulation"; on the other, he added that "in many regards [the NRA] has served a useful purpose." Shouse said that he had "deep sympathy" with the goals of the NRA, explaining, "While I feel very strongly that the prohibition of child labor, the maintenance of a minimum wage and the limitation of the hours of work belong under our form of government in the realm of the affairs of the different states, yet I am entirely willing to agree that in the case of an overwhelming national emergency the Federal Government for a limited period should be permitted to assume jurisdiction of them."


title: National Recovery Administration

text: The NRA negotiated specific sets of codes with leaders of the nation's major industries; the most important provisions were anti-deflationary floors below which no company would lower prices or wages, and agreements on maintaining employment and production. In a remarkably short time, the NRA won agreements from almost every major industry in the nation. According to some conservative economists, the NRA increased the cost of doing business by forty percent. Donald Richberg, who soon replaced Johnson as the head of the NRA said:


title: National Recovery Administration

text: There is no choice presented to American business between intelligently planned and uncontrolled industrial operations and a return to the gold-plated anarchy that masqueraded as "rugged individualism."... Unless industry is sufficiently socialized by its private owners and managers so that great essential industries are operated under public obligation appropriate to the public interest in them, the advance of political control over private industry is inevitable.


title: National Recovery Administration

text: Pennock (1997) shows that the rubber tire industry faced debilitating challenges, mostly brought about by changes in the industry's retail structure and exacerbated by the Depression. Segments of the industry attempted to use the NRA codes to solve these new problems and stabilize the tire market, but the tire manufacturing and tire retailing codes were patent failures. Instead of leading to cartelization and higher prices, which is what most scholars assume the NRA codes did, the tire industry codes led to even more fragmentation and price cutting.


title: National Recovery Administration

text: Alexander (1997) examines the macaroni industry and concludes that cost heterogeneity was a major source of the "compliance crisis" affecting a number of NRA "codes of fair competition" that were negotiated by industries and submitted for government approval under the National Industry Recovery Act of 1933. The argument boils down to assumptions that progressives at the NRA allowed majority coalitions of small, high-cost firms to impose codes in heterogeneous industries, and that these codes were designed by the high-cost firms under an ultimately erroneous belief that they would be enforced by the NRA.


title: National Recovery Administration

text: Storrs (2000) says the National Consumers' League (NCL) had been instrumental in the passage and legal defense of labor legislation in many states since 1899. Women activists used the New Deal opportunity to gain a national forum. General Secretary Lucy Randolph Mason and her league relentlessly lobbied the NRA to make its regulatory codes just and fair for all workers and to eliminate explicit and de facto discrimination in pay, working conditions, and opportunities for reasons of sex, race, or union status. Even after the demise of the NRA, the league continued campaigning for collective bargaining rights and fair labor standards at both federal and state levels.


title: National Recovery Administration

text: About 23 million people were employed under the NRA codes. However, violations of codes became common and attempts were made to use the courts to enforce the NRA. The NRA included a multitude of regulations imposing the pricing and production standards for all sorts of goods and services. Individuals were arrested for not complying with these codes. For example, one small businessman was fined for violating the "Tailor's Code" by pressing a suit for 35 rather than NRA required 40 cents. Roosevelt critic John T. Flynn, in "The Roosevelt Myth" (1944), wrote:


title: National Recovery Administration

text: The NRA was famous for its bureaucracy. Journalist Raymond Clapper reported that between 4,000 and 5,000 business practices were prohibited by NRA orders that carried the force of law, which were contained in some 3,000 administrative orders running to over 10 million pages, and supplemented by what Clapper said were "innumerable opinions and directions from national, regional and code boards interpreting and enforcing provisions of the act." There were also "the rules of the code authorities, themselves, each having the force of law and affecting the lives and conduct of millions of persons." Clapper concluded: "It requires no imagination to appreciate the difficulty the business man has in keeping informed of these codes, supplemental codes, code amendments, executive orders, administrative orders, office orders, interpretations, rules, regulations and obiter dicta."


title: National Recovery Administration

text: On May 27, 1935, in the court case of "Schechter Poultry Corp. v. United States", the Supreme Court held the mandatory codes section of NIRA unconstitutional. Chief Justice Charles Evans Hughes wrote for a unanimous Court in invalidating the industrial "codes of fair competition" which the NIRA enabled the President to issue. The Court held that the codes violated the United States Constitution's separation of powers as an impermissible delegation of legislative power to the executive branch.


title: National Recovery Administration

text: The Court also held that the NIRA provisions were in excess of congressional power under the Commerce Clause because they regulated commerce that was not interstate in character. The Court distinguished between direct effects on interstate commerce, which Congress could lawfully regulate, and indirect, which were purely matters of state law. Though the raising and sale of poultry was an interstate industry, the Court found that the "stream of interstate commerce" had stopped in this case: Schechter's slaughterhouses bought chickens only from intrastate wholesalers and sold to intrastate buyers. Any interstate effect of Schechter was indirect, and therefore beyond federal reach.


title: National Recovery Administration

text: Specifically, the Court invalidated regulations of the poultry industry promulgated under the authority of the National Industrial Recovery Act of 1933, including price fixing and wage fixing, as well as requirements regarding a whole shipment of chickens, including unhealthy ones, which led to the case becoming known as "the sick chicken case". The ruling was one of a series which overturned some New Deal legislation between January 1935 and January 1936.


title: National Recovery Administration

text: Subsequent to the decision, the remainder of Title I was extended until April 1, 1936, by joint resolution of Congress (49 Stat. 375), June 14, 1935, and NRA was reorganized by E.O. 7075, June 15, 1935, to facilitate its new role as a promoter of industrial cooperation and to enable it to produce a series of economic studies, which the National Recovery Review Board was already doing. Many of the labor provisions reappeared in the Wagner Act of 1935.


title: National Recovery Administration

text: The NRA tried to end the Great Depression by organizing thousands of businesses under codes drawn up by trade associations and industries. Hugh Johnson proved charismatic in setting up publicity that glorified his new NRA. Johnson was recognized for his efforts when "Time" named him Man of the Year of 1933—choosing him instead of FDR.


title: National Recovery Administration

text: By 1934 the enthusiasm that Johnson had so successfully created had faded. Johnson was faltering badly, which historians ascribe to the profound contradictions in NRA policies, compounded by Johnson's heavy drinking on the job. Big business and labor unions both turned hostile. 1


title: National Recovery Administration

text: According to biographer John Ohl (as summarized by reviewer Lester V. Chandler): Johnson's priorities became evident almost immediately. In the prescription, "Self regulation of industry under government supervision" the emphasis was to be on maximum freedom for business to formulate its own rules with a minimum of government supervision. Consumer protection and the interests of labor were of decidedly lesser importance. To induce business to formulate and abide by codes of fair competition Johnson was willing to condone almost any type of price fixing, restriction of production, limitation of productive capacity, and other types of anti-competitive practices...even with the benefit of a more efficient and diplomatic management and a more tolerant Supreme Court the NRA probably would not have survived much longer. It's inherent conflicts and inconsistencies were just too strong.


title: National Recovery Administration

text: Historian William E. Leuchtenburg argued in 1963: The NRA could boast some considerable achievements: it gave jobs to some two million workers; it helped stop a renewal of the deflationary spiral that had


title: National Recovery Administration

text: almost wrecked the nation; it did something to improve business ethics and civilize competition; it established a national pattern of maximum hours and minimum wages; and it all but wiped out child labor and the sweatshop. But this was all it did. It prevented things from getting worse, but it did little to speed recovery, and probably actually hindered it by its support of restrictionism and price raising. The NRA could maintain a sense of national interest against private interests only so long as the spirit of national crisis prevailed. As it faded, restriction-minded businessmen moved into a decisive position of authority. By delegating power over price and production to trade associations, the NRA created a series of private economic governments.


title: National Recovery Administration

text: According to historian Ellis Hawley in 1976:at the hands of historians the National Recovery Administration of 1933–35 has fared badly. Cursed at the time, it has remained the epitome of political aberration, illustrative of the pitfalls of “planning” and deplored both for hampering recovery and delaying genuine reform.


title: District council (India)

text: The Zila Panchayat or District Development Council or Mandal Parishad or District Panchayat is the third tier of the Panchayati Raj system and functions at the district levels in all states. A Zila Parishad is an elected body. Block Pramukh of Block Panchayat are also represented in Zila Parishad. The members of the State Legislature and the members of the Parliament of India are members of the Zila Parishad. The Zila parishad acts as the link between the state government and the village-level Gram Panchayat.


title: District council (India)

text: Zila Parishad are Panchayats at Apex or District Level in Panchayat Raj Institutions, and Gram Panchayat is the base unit at village level in Panchayati Raj Institutions.


title: District council (India)

text: The chairmen of all the Panchayat Samitis under the district are the ex officio members of Zila Parishad. The parishad is headed by a president and a vice-president.


title: District council (India)

text: The deputy chief executive officer from General Administration department at district level is ex-officio secretary of Zila Parishad.


title: District council (India)

text: The chief executive officer, who is an IAS officer or senior state service officer, heads the administrative setup of the Zila Parishad. He/ She supervises the divisions of the parishad and is assisted by deputy CEOs and other officials at district- and block-level officers.


title: District council (India)

text: The chief executive officer (CEO), who is a civil servant under IAS or State Administrative Service cadre, heads the administrative machinery of the Zila Parishad. He is also nominated by the government. He may also be district magistrate in some states. The CEO supervises the divisions of the parishad and executes its development schemes.


title: Jung Ga-ram

text: Jung Ga-ram (born February 23, 1993) is a South Korean actor. He rose to prominence for his roles in the films "4th Place" (2016) and "The Poet and the Boy" (2017). He is also known for his roles in television series such as "Standby" (2012), "Mistress" (2018), "When the Camellia Blooms" (2019), and "Love Alarm" (2019).


title: Jung Ga-ram

text: Jung enlisted mandatory military service on October 12, 2020. And Jung was discharged from military service on April 11, 2022.


title: ITC Entertainment

text: The Incorporated Television Company (ITC), or ITC Entertainment as it was referred to in the United States, was a British company involved in production and distribution of television programmes.


title: ITC Entertainment

text: Television mogul Lew Grade set up the Incorporated Television Programme Company (ITP) with Prince Littler and Val Parnell in 1954. Originally designed to be a contractor for the UK's new ITV network, the company failed to win a contract when the Independent Television Authority felt that doing so would give too much control in the entertainment business to the Grade family's companies (which included large talent agencies and theatre interests) although the ITA said that ITP were free to make their own programmes which they could sell to the new network companies. ITP put most of the production budget into producing one show, "The Adventures of Robin Hood" (ITV, 1955–59).


title: ITC Entertainment

text: However, the winner of one of the contracts, the Associated Broadcasting Development Company, had insufficient funds to start broadcasting, so the ITP owners were brought into the consortium—now renamed the Associated Broadcasting Company (ABC)—and Lew Grade came to dominate it.


title: ITC Entertainment

text: In 1957, now known as Incorporated Television Company (ITC), the company became a subsidiary of Associated Television (ATV)—the name ABC had adopted after threats of legal action from fellow ITV company Associated British Cinemas (Television) Ltd—and produced its own programmes for ATV and for syndication in the United States. It also distributed ATV material outside of the UK. From 1966 to 1982 it was a subsidiary of Associated Communications Corporation after the acquisition of ATV.


title: ITC Entertainment

text: The initials 'ITC' stood for two different things: Independent Television Corporation for sales to the Americas, and Incorporated Television Company for sales to the rest of the world. The American Independent Television Corporation was formed in 1958 as a joint venture with Jack Wrather. In September 1958 it purchased Television Programs of America (TPA) for $11,350,000. Wrather sold his shares to Lew Grade at the end of the decade.


title: ITC Entertainment

text: The large foreign sales achieved by ITC during the British government's export drives of the 1960s and 1970s led to ACC receiving the Queen's Award for Export on numerous occasions.


title: ITC Entertainment

text: On 18 August 1986, ITC Entertainment announced that they would relocate its headquarters from London to New York City, in order to follow the company restructuring of the studio.


title: ITC Entertainment

text: In 1986, ITC Entertainment and Kings Road Entertainment entered into an agreement whereas they would handle United States and Canadian distribution of all-new theatrical films that were produced by the Kings Road studio, for a multi-million dollar agreement. In 1987, ITC and HBO signed an exclusive agreement whereas ITC to handle exclusive domestic television distribution rights to the eight motion pictures produced by HBO. That year, HBO and ITC would receive a 12-picture agreement for pay cable films that was licensed for foreign release, namely theatrical release, and the parties are worth up to $55 million and that the production budgets for the 12-picture HBO/ITC joint agreement would be $4.5 million, which is standard for pictures for cable exposure. It also included an agreement for home video release whereas HBO would gave them home video and pay cable rights in the U.S. and ITC handling all foreign and free TV rights to its films, whereas HBO would gave them eight pictures and ITC would got four pictures.


title: ITC Entertainment

text: During 1988 The Bell Group, the owners of ITC were taken over by the Bond Corporation. Subsequently, the new owners started an asset-stripping programme. In November 1988 ITC Entertainment was bought by its management. In 1990, ITC abandoned television production and concentrated on low-budget feature films. TV production at ITC would not resume until the company forged a deal with producer David Gerber in 1993. In the meantime, it entered into a financing agreement with Interscope Communications to handle U.S. and foreign sales of its telemovies.


title: ITC Entertainment

text: In 1989, ITC Home Video was formed in the United Kingdom, to make use of the many hours of programmes in the archive, then unseen for years. This short-lived home entertainment division would end in 1991. In the following period, ITC continued to distribute its past library. In 1988, it inked a deal with J2 Communications to distribute video titles for the United States television market.


title: ITC Entertainment

text: In 1995, PolyGram purchased the company for $156 million. with Grade once again returning to ITC to act as a consultant until his death in December 1998. In 1997, it was absorbed into PolyGram Television.


title: ITC Entertainment

text: On 10 December 1998, Universal Studios' parent, Seagram purchased PolyGram for $10.2 billion. In early January 1999, Carlton Communications bought the ITC television and film library from PolyGram/Seagram for £91 million, which reunited the programme library of ATV and Central Television and doubled the stock of its library division "Carlton International", by giving it a total of 15,000 hours of programming. Carlton chairman Michael Green said: 'The ITC library is a jewel in the crown. We can now unite it with the other gems from Britain's film and television heritage in our excellent library.' In 2004, Carlton merged with Granada plc to form ITV plc. ITV Studios continues to release ITC's original output through television and Internet-streaming repeats, books and DVD and Blu-ray releases.


title: ITC Entertainment

text: In 2005, to commemorate the 50th anniversary of the founding of the company, Network released a DVD box set entitled "ITC 50" featuring episodes from eighteen different ITC productions.


title: ITC Entertainment

text: ITC is best known for being the company behind many successful British cult TV filmed series during the 1960s and 1970s, such as "The Saint," "Randall and Hopkirk (Deceased)," "Danger Man," "The Baron," "Gideon's Way," "The Champions," "The Prisoner," "Thunderbirds," "Captain Scarlet and the Mysterons," "Stingray", "Joe 90", "Man in a Suitcase," "Strange Report," "Department S," "The Persuaders!," "Jason King," "The Adventurer," "The Protectors", "Space 1999", and "Return of the Saint." It was also the production company for "The Muppet Show" and "Julie on Sesame Street" which were both made at the ATV Elstree Studios and distributed in the UK by ATV and in the US by ITC.


title: ITC Entertainment

text: ITC got its start as a production company when former American producer Hannah Weinstein approached Lew Grade. Weinstein wanted to make a programme called "The Adventures of Robin Hood." Weinstein proposed making the series for ITV and simultaneously marketing it in the United States through an American TV distribution company, Official Films. The series was a big success in both countries, running from 1955 until 1959 on CBS and ATV London.


title: ITC Entertainment

text: Grade realised the potential in overseas sales and colour television (the last 14 episodes of "The Adventures of Sir Lancelot" were filmed in colour a decade before colour television existed in the UK), and ITC combined high production values with exotic locations and uses of variations on the same successful formula for the majority of its television output.


title: ITC Entertainment

text: Although most of the ITC series were produced in Britain, ITC often worked with Television Programs of America (TPA) and several series were filmed in America. Possibly the earliest ITC series produced in the US was "Fury," a Saturday morning live-action series, about a beloved ranch horse, which starred Peter Graves and ran on NBC in the late 1950s and early 1960s.


title: ITC Entertainment

text: In 1963 Gerry Anderson's Anderson-Provis (AP) Films became part of ACC and produced "Fireball XL-5," the hugely successful children's series "Thunderbirds" and, under its successor company Century 21 Television/Cinema Productions, "Captain Scarlet and the Mysterons." ITC also funded Anderson-created programmes aimed at the adult market, including "UFO" and "." It was at ITC's request that Fanderson, "the Gerry Anderson Appreciation Society," was founded. Another ITC children's series was "The Adventures of Rupert Bear," the first television outing for the "Daily Express" cartoon character. ITC (in partnership with the Italian company RAI) was also behind Franco Zeffirelli's Biblical mini-series "Jesus of Nazareth", "Moses the Lawgiver", and the Gregory Peck television film "The Scarlet and the Black."